Θεσσαλονίκη - Τεκμήρια Φωτογραφικού αρχείου

T H E S S A L O N I K I 9k

∏ ·ÍÈÔÔ›ËÛË ÙË˜ ÙÂÚ¿ÛÙÈ·˜ ÔÏÈÙÈÛÙÈÎ‹˜ ÎÏËÚÔÓÔÌÈ¿˜ Ì·˜ - ·Ú¯·›·˜, ‚˘˙·-

ÓÙÈÓ‹˜, ÓÂfiÙÂÚË˜ Î·È Û‡Á¯ÚÔÓË˜ - Â›Ó·È ÁÈ· ÙËÓ ∂ÏÏ¿‰· Î·È ÙÔ˘˜ ã∂ÏÏËÓÂ˜ Ì›·

·fi ÙÈ˜ ÌÂÁ·Ï‡ÙÂÚÂ˜ ÚÔÎÏ‹ÛÂÈ˜ ÙË˜ Ó¤·˜ ÂÔ¯‹˜.

ªÂ ÙËÓ ÂÔ›ıËÛË fiÙÈ Ë ‰È·‰ÈÎ·Û›· ÙÔ˘ ÔÏÈÙÈÛÌÔ‡ ‰ÂÓ ÂÚÈÔÚ›˙ÂÙ·È ·ÏÒ˜

ÛÙË Û˘ÓÙËÚËÙÈÎ‹ ‰È·¯Â›ÚÈÛË ÙÔ˘ ·ÚÂÏıfiÓÙÔ˜, ·ÏÏ¿ ÂÂÎÙÂ›ÓÂÙ·È ÛÙËÓ ÂÍ·-

ÛÊ¿ÏÈÛË ÙˆÓ fiÚˆÓ ÁÈ· ÙË ‰ËÌÈÔ˘ÚÁ›· ÙÔ˘ Ì¤ÏÏÔÓÙÔ˜, Û‹ÌÂÚ·, ÂÚÈÛÛfiÙÂÚÔ

·fi ÔÙ¤ ¿ÏÏÔÙÂ, ¤¯Ô˘ÌÂ ÙË ÌÂÁ¿ÏË Â˘Î·ÈÚ›· Ó· ÂÓÒÛÔ˘ÌÂ ÙÈ˜ ‰˘Ó¿ÌÂÈ˜ Ì·˜

ÛÙËÓ ˘fiıÂÛË ÙÔ˘ ÔÏÈÙÈÛÌÔ‡.

™’ ·˘Ùfi ÙÔ ÓÂ‡Ì·, Ë °ÂÓÈÎ‹ °Ú·ÌÌ·ÙÂ›· ∂ÈÎÔÈÓˆÓ›·˜ Î·È Ë °ÂÓÈÎ‹ °Ú·ÌÌ·ÙÂ›·

∂ÓËÌ¤ÚˆÛË˜ ÚÔ¯ÒÚËÛ·Ó ÛÙËÓ ¤Î‰ÔÛË ÙÔ˘ ·ÚfiÓÙÔ˜ ÙfiÌÔ˘ Ô˘ ·ÓıÔÏÔÁÂ›

ÙÂÎÌ‹ÚÈ· ÙÔ˘ ÊˆÙÔÁÚ·ÊÈÎÔ‡ ·Ú¯Â›Ô˘ ÙÔ˘˜ ÌÂ ı¤Ì· ÙË £ÂÛÛ·ÏÔÓ›ÎË. ∏ ¤Î‰Ô-

ÛË ·˘Ù‹ Â›Ó·È Ì¤ÚÔ˜ ÌfiÓÔ ÙË˜ Â˘Ú‡ÙÂÚË˜ ÚÔÛ¿ıÂÈ·˜ ÁÈ· ÙË Û˘ÁÎ¤ÓÙÚˆÛË,

Ù·ÍÈÓfiÌËÛË Î·È ·ÍÈÔÔ›ËÛË ÙÔ˘ ÙÂÚ¿ÛÙÈÔ˘ ÔÙÈÎÔ·ÎÔ˘ÛÙÈÎÔ‡ ˘ÏÈÎÔ‡ ÙË˜

¯ÒÚ·˜ ˘fi ÙË Û˘ÓÙÔÓÈÛÙÈÎ‹ ·ÈÁ›‰· ÙÔ˘ ∂ıÓÈÎÔ‡ √ÙÈÎÔ·ÎÔ˘ÛÙÈÎÔ‡ ∞Ú¯Â›Ô˘.

∂ÓÙ·ÛÛfiÌÂÓÔ ÏÔÈfiÓ ÙÔ ÏÂ‡ÎˆÌ· ·˘Ùfi ÛÂ ¤Ó· Â˘Ú‡ÙÂÚÔ, ÂÍ’ ÔÚÈÛÌÔ‡ ·¯·Ó¤˜

Î·È ·ÓÂÍ¿ÓÙÏËÙÔ ¤ÚÁÔ, ·ÔÎÙ¿ ÌÈ· ÍÂ¯ˆÚÈÛÙ‹ ÛËÌ·Û›·: ·Ô‰ÂÈÎÓ‡ÂÈ fiÙÈ Ë ÚÔ-

Û¿ıÂÈ· Ó· Á›ÓÂÈ Í·Ó¿ ÚÔÛÈÙfi ÛÙÈ˜ ∂ÏÏËÓ›‰Â˜ Î·È ÙÔ˘˜ ã∂ÏÏËÓÂ˜ ·˘Ùfi ÙÔ

ÎÂÊ¿Ï·ÈÔ ÙÔ˘ ÔÏÈÙÈÛÌÔ‡ Î·È ÙË˜ ÈÛÙÔÚ›·˜ Ì·˜ ÌÔÚÂ› Ó· ·Ô‰ÒÛÂÈ ·ÔÙÂÏ¤-

ÛÌ·Ù· ·ÈÛıËÙÈÎ¿ ¿ÚÙÈ· Î·È ¯Ú‹ÛÈÌ· ÛÂ fiÔÈÔÓ ÂÓ‰È·Ê¤ÚÂÙ·È Ó· Ù· ÌÂÏÂÙ‹ÛÂÈ.

ªÂ ·˘Ùfi ÙÔ ·›ÛıËÌ· ÙË˜ ·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·ÙÂ›·˜ 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


∂ π ™ ∞ ° ø ° ∏

Δ· ÙÂÎÌ‹ÚÈ· ·fi ÙÔ ºˆÙÔÁÚ·ÊÈÎfi ∞Ú¯Â›Ô ÙË˜ °ÂÓÈÎ‹˜ °Ú·Ì-

Ì·ÙÂ›·˜ ∂ÈÎÔÈÓˆÓ›·˜ - °ÂÓÈÎ‹˜ °Ú·ÌÌ·ÙÂ›·˜ ∂ÓËÌ¤ÚˆÛË˜

Û˘ÓÈÛÙÔ‡Ó ÔÏ‡ÙÈÌË Û˘Ì‚ÔÏ‹ ÛÙÔ ·fiıÂÌ· ÙˆÓ ÂÈÎ·ÛÙÈÎÒÓ ÙÂÎÌË-

Ú›ˆÓ Ô˘ ·ÊÔÚÔ‡Ó ÙË ÓÂfiÙÂÚË Î·È ÙË Û‡Á¯ÚÔÓË £ÂÛÛ·ÏÔÓ›ÎË, Û˘Ì-

‚ÔÏ‹ ·fi ÙËÓ ÔÔ›· ÔÈ ÈÛÙÔÚÈÎ¤˜ Î·È ·ÓıÚˆÈÛÙÈÎ¤˜ ¤ÚÂ˘ÓÂ˜ ¤¯Ô˘Ó

ÔÏÏ¿ Ó· ˆÊÂÏËıÔ‡Ó.

ΔÔ ˘ÏÈÎfi Ô˘ ÂÈÏ¤¯ıËÎÂ ˆ˜ ·ÓÙÈÚÔÛˆÂ˘ÙÈÎfi ÂÚÈÏ·Ì‚¿ÓÂÈ 114

ÊˆÙÔÁÚ·ÊÈÎ¤˜ Ï‹„ÂÈ˜, ·fi ÙÈ˜ ÔÔ›Â˜ 35 Ú·ÁÌ·ÙÔÔÈ‹ıËÎ·Ó ÚÈÓ

Î·È Î·Ù¿ ÙÔ ‰Â‡ÙÂÚÔ ·ÁÎfiÛÌÈÔ fiÏÂÌÔ Î·È 79 ÌÂÙ¿ ·fi ·˘ÙfiÓ. Δ¤Û-

ÛÂÚÈ˜ Ï‹„ÂÈ˜ ·Ó¿ÁÔÓÙ·È ÛÙËÓ ÂÚ›Ô‰Ô ÚÈÓ ·fi ÙËÓ ·ÂÏÂ˘ı¤ÚˆÛË

ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜ (1912), 18 ÛÙËÓ ÂÚ›Ô‰Ô ·fi ÙËÓ ·ÂÏÂ˘ı¤ÚˆÛË

Ì¤¯ÚÈ Î·È ÙË ÌÂÁ¿ÏË ˘ÚÎ·ÁÈ¿ ÙÔ˘ 1917, 10 Ï‹„ÂÈ˜ ¤ÁÈÓ·Ó ÛÙËÓ

ÂÚ›Ô‰Ô ÙÔ˘ ªÂÛÔÔÏ¤ÌÔ˘ Î·È 3 ÛÙËÓ ÂÚ›Ô‰Ô ÙË˜ ∫·ÙÔ¯‹˜. ™Â fi,ÙÈ

·ÊÔÚ¿ ÙË ÌÂÙ·ÔÏÂÌÈÎ‹ ÂÚ›Ô‰Ô, 9 Ï‹„ÂÈ˜ Ú·ÁÌ·ÙÔÔÈ‹ıËÎ·Ó Î·Ù¿

ÙË ‰ÂÎ·ÂÙ›· ÙÔ˘ 1940, 20 ÛÙË ‰ÂÎ·ÂÙ›· ÙÔ˘ 1950, 37 ÛÙË ‰ÂÎ·ÂÙ›·

ÙÔ˘ 1960 Î·È 13 ÛÙË ‰ÂÎ·ÂÙ›· ÙÔ˘ 1970. ∏ Ì¤ÛË ËÏÈÎ›· ÙˆÓ ÊˆÙÔ-

ÁÚ·ÊÈÒÓ Â›Ó·È 60 ÂÙÒÓ. √È ÂÚÈÛÛfiÙÂÚÂ˜ ‰ÂÓ ¤¯Ô˘Ó ‰ËÌÔÛÈÂ˘ÙÂ› ÛÂ

ÚÔÛÈÙ¿ ¤ÓÙ˘· ‹ ·Ú¤ÌÂÈÓ·Ó ·Ó¤Î‰ÔÙÂ˜.

∏ ÊˆÙÔÁÚ·Ê›·, fiˆ˜ Î·È Î¿ıÂ ÂÈÎ·ÛÙÈÎfi ÙÂÎÌ‹ÚÈÔ, ‰ÂÓ ¤¯ÂÈ «Ô˘‰¤-

ÙÂÚÔ» ¯·Ú·ÎÙ‹Ú·. √ ‰ËÌÈÔ˘ÚÁfi˜ ÙË˜ ¤¯ÂÈ ÂÈÏ¤ÍÂÈ ÙÈ ÂÈı˘ÌÂ› Ó·

··ı·Ó·Ù›ÛÂÈ, ¤¯ÂÈ ‰ËÏ·‰‹ ·ÔÎÏÂ›ÛÂÈ fi,ÙÈ ‰ÂÓ ÂÈı˘ÌÂ›. ™˘ÓÂÒ˜, Ë

¯Ú‹ÛË ÙË˜ ÊˆÙÔÁÚ·Ê›·˜ ÁÈ· ÂÈÛÙËÌÔÓÈÎÔ‡˜ ÏfiÁÔ˘˜ ··ÈÙÂ› ÌÂÁ¿ÏË

ÚÔÛÔ¯‹ Î·È Ë ÂÈÙ˘¯›· ÙË˜ ÛÙËÚ›˙ÂÙ·È ÛÙËÓ Â·ÚÎ‹ ·Ó·ÁÓÒÚÈÛË ÙÔ˘

ÛÎÔÔ‡ ÁÈ· ÙÔÓ ÔÔ›Ô ¤ÁÈÓÂ Ë Ï‹„Ë. √‡ÙÂ fiÌˆ˜ Î·È Ë ·Ó¿ÁÓˆÛË ÙË˜

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

ÊˆÙÔÁÚ·Ê›·˜ Â›Ó·È «Ô˘‰¤ÙÂÚË» ÏÂÈÙÔ˘ÚÁ›·. ŒÎ·ÛÙÔ˜ ı· ‰È·ÈÛÙÒÛÂÈ

Ì¤Û· ÛÙÔ ÔÙÈÎfi ÙÂÎÌ‹ÚÈÔ fiÛ· Â›Ó·È ÚÔÂÙÔÈÌ·ÛÌ¤ÓÔ˜ Ó· ‰ÂÈ ‹ Ó·

·Ó·˙ËÙ‹ÛÂÈ. ∏ Ú‹ÛË fiÙÈ «Ì›· ÂÈÎfiÓ· ·Í›˙ÂÈ fiÛÔ ‰¤Î· ¯ÈÏÈ¿‰Â˜ Ï¤ÍÂÈ˜»

¤¯ÂÈ ˆ˜ ÚÔ¸fiıÂÛË fiÙÈ Ô ıÂ·Ù‹˜ ÙË˜ ÂÈÎfiÓ·˜ Â›Ó·È ÛÂ ı¤ÛË Ó·

Î·Ù·ÓÔ‹ÛÂÈ ÙÔ ÂÚÈÂ¯fiÌÂÓfi ÙË˜. Àfi ÙËÓ ¤ÓÓÔÈ· ·˘Ù‹, ›Ûˆ˜ ÌÂÚÈÎ¤˜

ÊÔÚ¤˜ ÌfiÓÔ ÌÈ· Ï¤ÍË Ó· ·Í›˙ÂÈ fiÛÔ ‰¤Î· ¯ÈÏÈ¿‰Â˜ ÂÈÎfiÓÂ˜.

°È· Ó· Î·Ù·ÓÔËıÂ› Î·Ï‡ÙÂÚ·, ÙÔ ˘ÏÈÎfi Î·Ù·Ù¿¯ıËÎÂ ÛÂ ÔÎÙÒ ÂÓfiÙË-

ÙÂ˜. ΔÔ ‚·ÛÈÎfi ÎÚÈÙ‹ÚÈÔ ÁÈ· ÙËÓ Î·Ù¿Ù·ÍË ‹Ù·Ó ÁÂˆÁÚ·ÊÈÎfi. ŸÌˆ˜,

Ë ÁÂˆÁÚ·Ê›· Â›Ó·È Â‰›Ô, ·ÈÙ›· Î·È ·ÔÙ¤ÏÂÛÌ· ÈÛÙÔÚÈÎÒÓ ÂÍÂÏ›ÍÂˆÓ.

∏ Î‡ÚÈ· ÂÍ¤ÏÈÍË, Ô˘ ¤ÚÂÂ Ó· ÈÛÙÔÚËıÂ› ÂÓ ÚÔÎÂÈÌ¤Óˆ, ‹Ù·Ó Ë ›‰È·

Ô˘ ÛËÌÂÈÒıËÎÂ ÛÂ fiÏÂ˜ ÙÈ˜ fiÏÂÈ˜ ÙÔ˘ ÎfiÛÌÔ˘. ª¤Û· ÛÂ ÌÂÚÈÎ¤˜

‰ÂÎ·ÂÙ›Â˜ –Û˘¯Ó¿ Ì¤Û· ÛÙËÓ ›‰È· ‰ÂÎ·ÂÙ›·- ÛÙË £ÂÛÛ·ÏÔÓ›ÎË

ÛËÌÂÈÒıËÎ·Ó ÌÂÙ·‚ÔÏ¤˜ Ô˘ ¿ÏÏÔÙÂ ı· ¯ÚÂÈ¿˙ÔÓÙ·Ó ·ÈÒÓÂ˜ ÁÈ· Ó·

Â¤ÏıÔ˘Ó. ∞˘Ù‹ Ë ‰È·›ÛÙˆÛË Á›ÓÂÙ·È Î·Ù·Ú¯¿˜ ·ÓÙÈÏËÙ‹ ÛÙÔÓ

ÔÏÏ·Ï·ÛÈ·ÛÌfi ÙÔ˘ ¯ÒÚÔ˘ Ô˘ Î·Ù·Ï·Ì‚¿ÓÂÈ Ë fiÏË Î·È ÛÙËÓ

ÂÓÙ˘ˆÛÈ·Î‹ ·‡ÍËÛË ÙÔ˘ ÏËı˘ÛÌÔ‡ Î·È ÙË˜ ÔÈÎÈÛÙÈÎ‹˜ ˘ÎÓfiÙËÙ¿˜

ÙË˜. °›ÓÂÙ·È, Â›ÛË˜, Î·È ·ÓÙÈÏËÙ‹ ·fi ÙË ‰ËÌÈÔ˘ÚÁ›· Ó¤ˆÓ ˘Ú‹ÓˆÓ

Î·È ÏÂÈÙÔ˘ÚÁÈÒÓ Ô˘ ·ÓÙÈÎ·ıÈÛÙÔ‡Ó ·Ï·ÈfiÙÂÚÂ˜. ™ËÌ·Û›· ¤¯ÂÈ Ó·

ÂÈ‰ÂÈ¯ıÂ› Ë ·ÏÏ·Á‹ ÛÙËÓ ÎÏ›Ì·Î·: ∂› ·ÈÒÓÂ˜, ÙÔ ı·Ï¿ÛÛÈÔ ÂÌfiÚÈÔ

ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜ ÁÈÓfiÙ·Ó ÌÂ ÌÈ· Í‡ÏÈÓË ÛÎ¿Ï·. ¢ÂÓ ¤¯ÂÈ Î·ÓÂ›˜

·Ú¿ Ó· ‰È·‚¿ÛÂÈ ÚÔÛÂÎÙÈÎ¿ ÙÈ˜ ÛËÌÂÈÒÛÂÈ˜ ÙË˜ ‰Â‡ÙÂÚË˜ ÂÓfiÙËÙ·˜

ÁÈ· Ó· ‰È·ÈÛÙÒÛÂÈ fiÛÔ ÁÚ‹ÁÔÚ· ¿ÏÏ·ÍÂ Ë £ÂÛÛ·ÏÔÓ›ÎË Ì·˙› ÌÂ ÙÔ

ÏÈÌ¿ÓÈ ÙË˜.

√È ÔÎÙÒ ÂÓfiÙËÙÂ˜ Û˘Ó‰˘¿˙ÔÓÙ·È Î·È ÛÂ Î¿ÔÈÔ ‚·ıÌfi ·ÏÏËÏÂÈÎ·-

Ï‡ÙÔÓÙ·È. ∂›Ó·È ÔÈ ·ÎfiÏÔ˘ıÂ˜:

∞ÂÚÔÊˆÙÔÁÚ·Ê›Â˜: ∏ ÚÒÙË ÂÓfiÙËÙ· ÂÚÈÏ·Ì‚¿ÓÂÈ ÂÙ¿ ·ÂÚÔÊˆÙÔ-

ÁÚ·Ê›Â˜, ÔÈ ÔÔ›Â˜ ÚÔÙ¿¯ıËÎ·Ó ‰ÈfiÙÈ ÂÈÙÚ¤Ô˘Ó Ó· Û¯ËÌ·Ù›ÛÂÈ Ô

·Ó·ÁÓÒÛÙË˜ ÁÂÓÈÎ‹ ÂÈÎfiÓ· ÙÔ˘ ÔÏÂÔ‰ÔÌÈÎÔ‡ Û˘ÁÎÚÔÙ‹Ì·ÙÔ˜ ÙË˜

£ÂÛÛ·ÏÔÓ›ÎË˜ Î·È ÙË˜ ÎÏ›Ì·Î·˜ ÙˆÓ ÌÂÙ·‚ÔÏÒÓ ÙÔ˘. ΔÔ ÂÈÏÂÁÌ¤ÓÔ

˘ÏÈÎfi ÂÚÈÏ·Ì‚¿ÓÂÈ Î·È ¿ÏÏÂ˜ ·ÂÚÔÊˆÙÔÁÚ·Ê›Â˜, Ô˘ Î·Ù·Ù¿¯ıËÎ·Ó

fiÌˆ˜ ÛÂ Â› Ì¤ÚÔ˘˜ ÂÓfiÙËÙÂ˜ ÏfiÁˆ ÙÔ˘ ÂÈ‰ÈÎÔ‡ ÂÓ‰È·Ê¤ÚÔÓÙfi˜ 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.



§ÈÌ¿ÓÈ: ∏ ‰Â‡ÙÂÚË ÂÓfiÙËÙ· ÂÚÈÏ·Ì‚¿ÓÂÈ Ï‹„ÂÈ˜ ·fi ÙÔ ÏÈÌ¿ÓÈ ÙË˜

£ÂÛÛ·ÏÔÓ›ÎË˜. ∂ÎÙfi˜ ·fi ÙË ÛËÌ·Û›· ÙÔ˘ ÏÈÌ·ÓÈÔ‡ ÁÈ· ÙËÓ ÔÈÎÔÓÔ-

ÌÈÎ‹ ˙ˆ‹ ÙË˜ fiÏË˜ Î·È ÙË˜ ÂÚÈÊ¤ÚÂÈ¿˜ ÙË˜, Ë ÁÂˆÁÚ·ÊÈÎ‹ ı¤ÛË ÙÔ˘

‰ÈÂ˘ÎÔÏ‡ÓÂÈ ÙË ÊˆÙÔÁÚ·ÊÈÎ‹ Î·Ù·ÁÚ·Ê‹ ÌÂÈ˙fiÓˆÓ ÌÂÙ·‚ÔÏÒÓ ÛÙÔ

Â˘Ú‡ÙÂÚÔ ÔÏÂÔ‰ÔÌÈÎfi Û˘ÁÎÚfiÙËÌ·.

¶ÚÔÎ˘Ì·›·: ∏ ÙÚ›ÙË ÂÓfiÙËÙ· ÂÚÈÏ·Ì‚¿ÓÂÈ ÙËÓ ÚÔÎ˘Ì·›· ÙË˜ £ÂÛ-

Û·ÏÔÓ›ÎË˜, ·˘Ù‹Ó Ô˘ ·Ï·ÈfiÙÂÚ· ·ÔÙ¤ÏÂÛÂ ÙÔ ı·Ï·ÛÛÈÓfi ÚfiÛˆ-

Ô ÙË˜ fiÏË˜. √È ÊˆÙÔÁÚ·ÊÈÎ¤˜ Ï‹„ÂÈ˜ Î·Ù·ÁÚ¿ÊÔ˘Ó Û˘ÁÎÚ›ÛÈÌÂ˜

ÌÂÙ·‚ÔÏ¤˜ ÛÙÔ ‰ÔÌËÌ¤ÓÔ ÂÚÈ‚¿ÏÏÔÓ Î·È ÛÙÔ˘˜ ·ÓıÚÒÔ˘˜ Ô˘

·ÂÈÎÔÓ›˙ÔÓÙ·È Ì·˙› ÙÔ˘. ΔÔ ÂÓ‰È·Ê¤ÚÔÓ ÙË˜ ÂÓfiÙËÙ¿˜ ·˘Ù‹˜ Â›Ó·È

Î˘Ú›ˆ˜ ·ÈÛıËÙÈÎfi. √È ÌÂÙ·‚ÔÏ¤˜ ·ÊÔÚÔ‡Ó ÙË ÌÈÎÚ‹ ÎÏ›Ì·Î· ÙÔ˘ È‰Èˆ-

ÙÈÎÔ‡ ‚›Ô˘.

§Â˘Îfi˜ ¶‡ÚÁÔ˜: ∏ Ù¤Ù·ÚÙË ÂÓfiÙËÙ· ¤¯ÂÈ ˆ˜ Â›ÎÂÓÙÚÔ ÙÔ §Â˘Îfi

¶‡ÚÁÔ Î·È ÂÚÈÏ·Ì‚¿ÓÂÈ Ï‹„ÂÈ˜ Ô˘ Â›¯·Ó ˆ˜ ·ÓÙÈÎÂ›ÌÂÓÔ Â›ÙÂ ÙÔ

ÌÓËÌÂ›Ô Î·ı’ ·˘Ùfi Â›ÙÂ ÙÔÓ ÂÚÈ‚¿ÏÏÔÓÙ· ¯ÒÚÔ ÙÔ˘. ÿÛˆ˜ Ë ·ÎÔÏÔ˘-

ı›· ÙˆÓ ÂÈÎfiÓˆÓ ‚ÔËı¿ Ï›ÁÔ Ó· ·ÓÙÈÏËÊıÔ‡ÌÂ ÁÈ· ÔÈÔ ÏfiÁÔ Ô ‡Ú-

ÁÔ˜ ·˘Ùfi˜ ·ÔÙ¤ÏÂÛÂ ÛÙ·‰È·Î¿ Û‹Ì· Î·Ù·ÙÂı¤Ó ÙË˜ fiÏË˜, Ì¤Û·

·fi ÙË ÌÂÙ·‚ÔÏ‹ ÙÔ˘ ‰ÔÌËÌ¤ÓÔ˘ ÂÚÈ‚¿ÏÏÔÓÙfi˜ ÙÔ˘.

∞¶£ & ¢∂£: ∏ ¤ÌÙË ÂÓfiÙËÙ· «·ÊËÁÂ›Ù·È» ÙË ÌÂÙ·ÙÚÔ‹ ÙÔ˘ Â›

ÙÔ˘ÚÎÔÎÚ·Ù›·˜ ÎÔÈÌËÙËÚÈ·ÎÔ‡ ÙfiÔ˘ ÛÂ ·ÓÂÈÛÙËÌÈÔ‡ÔÏË Î·È

fiÏË ÂÎı¤ÛÂˆÓ. √È ÊˆÙÔÁÚ·Ê›Â˜ ÙË˜ ÂÓfiÙËÙ·˜ ·˘Ù‹˜ ¤¯Ô˘Ó ÂÈ‰ÈÎ‹

ÛËÌ·Û›·, ‰ÈfiÙÈ ‰Â›¯ÓÔ˘Ó Ò˜ ÔÈ ¯Ú‹ÛÂÈ˜ ÙÔ˘ ¯ÒÚÔ˘ ‰È·‰¤¯ÔÓÙ·È Ë Ì›·

ÙËÓ ¿ÏÏË Î·È Ò˜ ¤Ó·˜ «·Î¿Ï˘ÙÔ˜» ÙfiÔ˜ ‰È¤Ê˘ÁÂ ÙÔÓ Î›Ó‰˘ÓÔ Ó·

ÌÂÙ·ÙÚ·Â› ÛÂ ÚÔÛÊ˘ÁÈÎfi ÔÈÎÈÛÌfi Î·È ÂÓÙ¿¯ıËÎÂ ÛÙÔ ·ÛÙÈÎfi

‰›ÎÙ˘Ô.

ªÓËÌÂ›·: ∏ ¤ÎÙË ÂÓfiÙËÙ· ÂÚÈÏ·Ì‚¿ÓÂÈ ÌÓËÌÂ›· ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜,

·fi ‰È¿ÊÔÚÂ˜ ÂÚÈfi‰Ô˘˜ ÙË˜ ÈÛÙÔÚ›·˜ ÙË˜, Î·È ÙÔ˘˜ ÂÚÈ‚¿ÏÏÔÓÙÂ˜

¯ÒÚÔ˘˜ ÙÔ˘˜. ªÂÚÈÎ¤˜ ÊÔÚ¤˜ ÔÈ ÌÂÙ·‚ÔÏ¤˜ ÛÙÔ ÂÚÈ‚¿ÏÏÔÓ Â›Ó·È

ÙfiÛÔ ¤ÓÙÔÓÂ˜, ÒÛÙÂ ·ÔÛÔ‡Ó ÙÔ ÂÓ‰È·Ê¤ÚÔÓ ·fi Ù· ÌÓËÌÂ›· Î·ı’

·˘Ù¿.

∏ ÂÓ‰fiÙÂÚË ÂÚÈÔ¯‹: ∏ ¤‚‰ÔÌË ÂÓfiÙËÙ· ÂÚÈÏ·Ì‚¿ÓÂÈ Ï‹„ÂÈ˜ ·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· ÛËÌÂ›· –ÂÛˆÙÂÚÈÎ¿- ÙË˜ ÂÓÙfi˜ ÙˆÓ ÙÂÈ¯ÒÓ £ÂÛÛ·ÏÔÓ›ÎË˜, Ô˘

·Ô‰›‰Ô˘Ó Î˘Ú›ˆ˜ ÙËÓ ÔÚÂ›· ·Ó·Û¯Â‰È·ÛÌÔ‡ Î·È ·ÓÔÈÎÔ‰fiÌËÛ‹˜

ÙË˜ ÌÂÙ¿ ÙËÓ ˘ÚÎ·ÁÈ¿ ÙÔ˘ 1917. √È ÚÒÙÂ˜ ÊˆÙÔÁÚ·Ê›Â˜ ·˘Ù‹˜ ÙË˜

ÂÓfiÙËÙ·˜ ·Ú·‰›‰Ô˘Ó ‰Â›ÁÌ·Ù· ÏÈÏÈÔ‡ÙÂÈˆÓ Â·ÁÁÂÏÌ·ÙÈÎÒÓ

¯ÒÚˆÓ, Ô˘ ÌÂÚÈÎ¤˜ ÊÔÚ¤˜ ÙÔ ÂÌ‚·‰fiÓ ÙÔ˘˜ ‰ÂÓ ÍÂÂÚÓÔ‡ÛÂ Ù·

¤ÓÙÂ ÙÂÙÚ·ÁˆÓÈÎ¿ Ì¤ÙÚ·, ·ÏÏ¿ ÔÈ È‰ÈÔÎÙ‹ÙÂ˜ ÙÔ˘˜ ‰ÂÓ ‹Ù·Ó ÏÈÁfiÙÂ-

ÚÔÈ ·fi ¤ÓÙÂ.

ŒÚÁ·: Δ¤ÏÔ˜, Ë fiÁ‰ÔË ÂÓfiÙËÙ· ·ÊÔÚ¿ ÌÂÁ¿Ï· ‰ËÌfiÛÈ· ¤ÚÁ· Î·È

È‰ÈˆÙÈÎ¤˜ ÂÂÓ‰˘ÙÈÎ¤˜ ÚˆÙÔ‚Ô˘Ï›Â˜ Ô˘ ÛËÌ¿‰Â„·Ó ÙË ˙ˆ‹ ÙË˜

£ÂÛÛ·ÏÔÓ›ÎË˜ ÛÙË ‰ÂÎ·ÂÙ›· ÙÔ˘ 1960 Î·È ¤ÂÈÙ·. ∂È‰ÈÎ¿ Ë Â¤Ó‰˘-

ÛË ÙË˜ Esso Pappas ·ÔÙ¤ÏÂÛÂ Î·Ù·Ï‡ÙË ·Ó¿Ù˘ÍË˜ ÛÙËÓ Â˘Ú‡ÙÂ-

ÚË ÂÚÈÔ¯‹.

√Û¿ÎÈ˜ ÛÙËÓ ÚˆÙfiÙ˘Ë ÊˆÙÔÁÚ·Ê›· ÙÔ˘ ·Ú¯Â›Ô˘ ˘‹Ú¯Â Û¯ÔÏÈ·-

ÛÌfi˜, Ï‹ÊıËÎÂ ˘fi„Ë ÛÙÔÓ ˘ÔÌÓËÌ·ÙÈÛÌfi ÙË˜. Δ· Û¯fiÏÈ· ·˘Ù¿

·Ô‰Â›¯ıËÎ·Ó ÛÙÈ˜ ÂÚÈÛÛfiÙÂÚÂ˜ ÂÚÈÙÒÛÂÈ˜ ÔÏ‡ÙÈÌÔ˜ Ô‰ËÁfi˜ ÁÈ·

ÙË ¯ÚÔÓÈÎ‹ Ù·‡ÙÈÛË ÙˆÓ ÙÂÎÌËÚ›ˆÓ.

™Â ÌÈ· ÁÂÓÈÎ‹ ·ÔÙ›ÌËÛË ÙË˜ Û¯¤ÛË˜ ·Ó¿ÌÂÛ· ÛÙÈ˜ ÂÓfiÙËÙÂ˜ Ô˘

ÚÔ·Ó·Ê¤ÚıËÎ·Ó Î·È ÙË ¯ÚÔÓÈÎ‹ ÎÏÈÌ¿ÎˆÛË ÙˆÓ ÊˆÙÔÁÚ·ÊÈÒÓ,

ÛËÌÂÈÒÓÔ˘ÌÂ fiÙÈ ÔÈ Ï‹„ÂÈ˜ Ô˘ Û¯ÂÙ›˙ÔÓÙ·È ÌÂ ÙË ‰È·ÌfiÚÊˆÛË ÙË˜

«ÂÓ‰Ô¯ÒÚ·˜» ÙË˜ fiÏË˜ Â›Ó·È Î·Ù¿ Ì¤ÛÔ fiÚÔ ·Ï·ÈfiÙÂÚÂ˜. ∞ÓÙ›ıÂ-

Ù·, ÔÈ Ï‹„ÂÈ˜ Ô˘ ·ÊÔÚÔ‡Ó ‰ËÌfiÛÈ· ¤ÚÁ· Î·È ÙÔ Û¯ËÌ·ÙÈÛÌfi ÙË˜

·ÓÂÈÛÙËÌÈÔ‡ÔÏË˜ (Ô˘ Î·È ·˘Ù‹ ·ÔÙ¤ÏÂÛÂ, ‚¤‚·È·, ¤Ó· ÌÂÁ¿ÏÔ

‰ËÌfiÛÈÔ ¤ÚÁÔ) ÂÈÎÂÓÙÚÒÓÔ˘Ó ÛÙË ‰ÂÎ·ÂÙ›· ÙÔ˘ 1960.

Δ· ÊˆÙÔÁÚ·ÊÈÎ¿ ÙÂÎÌ‹ÚÈ· ·fi ÙÔ ·Ú¯Â›Ô ÙË˜ °ÂÓÈÎ‹˜ °Ú·ÌÌ·ÙÂ›·˜

∂ÈÎÔÈÓˆÓ›·˜ - °ÂÓÈÎ‹˜ °Ú·ÌÌ·ÙÂ›·˜ ∂ÓËÌ¤ÚˆÛË˜ ‚ÔËıÔ‡Ó Ó·

Î·Ù·ÓÔ‹ÛÔ˘ÌÂ ÙÈ˜ ·ÏÏ·Á¤˜ ÛÙËÓ Ù·˘ÙfiÙËÙ· ÌÈ·˜ fiÏË˜. ∞Ó ‰Â¯ÙÔ‡-

ÌÂ fiÙÈ Ë ·ÏÏ·Á‹ ÛÙËÓ ·ÛÙÈÎ‹ Ù·˘ÙfiÙËÙ· ·ÔÙÂÏÂ› Û˘Ó¿ÚıÚˆÛË ÁÂˆ-

ÁÚ·ÊÈÎÒÓ ÌÂÙ·‚ÔÏÒÓ Î·È ÌÂÙ·‚ÔÏÒÓ ÙË˜ ÓÔÔÙÚÔ›·˜, ÔÈ ÊˆÙÔÁÚ·-

Ê›Â˜ Ì·˜ ı· ‰Â›ÍÔ˘Ó Î˘Ú›ˆ˜ ÙÈ˜ ÚÒÙÂ˜. ™Â fi,ÙÈ ·ÊÔÚ¿ ÙÈ˜ ÓÔÔÙÚÔ-

›Â˜, Ô ·Ï·ÈfiÙÂÚÔ˜ ·Ó·ÁÓÒÛÙË˜ ‰È·ı¤ÙÂÈ ÚÔÛˆÈÎ¿ ‚ÈÒÌ·Ù·. ¶Ú¤-

ÂÈ ·ÏÒ˜ Ó· ·ÔÊ‡ÁÂÈ ÙÈ˜ ·Á›‰Â˜ ÙË˜ 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 ° ∏


·Ó·ÁÓÒÛÙË˜ Ì¤Û· ·fi ÙÈ˜ ÌÈÎÚÔ˚ÛÙÔÚÈÎ¤˜ ·Ú·ÙËÚ‹ÛÂÈ˜ ı· ˘Ô„È·-

ÛÙÂ› ÙÈ˜ ÌÂÙ·‚ÔÏ¤˜ ÛÙÈ˜ ÓÔÔÙÚÔ›Â˜ Î·È ÙÈ˜ Û˘ÌÂÚÈÊÔÚ¤˜. £· ‰ÂÈ

ˆ˜ –fi¯È ÚÈÓ ÔÏ‡ Î·ÈÚfi- ˘‹Ú¯·Ó Â‡Î· ¿Óˆ ÛÙËÓ ∂ÁÓ·Ù›· Î·È

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¿

Ì¤Û· ·fi ÌÈ· ·›ÛıËÛË –Û¯Â‰fiÓ ÔÓÂÈÚÈÎ‹. £· ‰ÂÈ ÛÙÔÈ¯Â›· 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 ÊˆÙÔÁÚ·Ê›Â˜. °È· Ó· Î·Ï‡„ÂÈ ·˘Ùfi ÙÔ ÎÂÓfi, Ô ·Ó·ÁÓÒ-

ÛÙË˜ ‰ÂÓ ı· ¯ÚÂÈ·ÛÙÂ› ÌfiÓÔÓ ÙËÓ ·Ú·ÙËÚËÙÈÎfiÙËÙ¿ ÙÔ˘. £· Ú¤ÂÈ

Ó· ÂÈÛÙÚ·ÙÂ‡ÛÂÈ ÙË Ê·ÓÙ·Û›· ÙÔ˘. ∏ Ì·ÁÂ›· 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. ªÂÚÈÎ¤˜ 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.


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·ÊÈÎ¤˜ Ï‹„ÂÈ˜ ·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 ·ÔÎÏÂÈÛÙÈÎ¿ ÁÈ· ÂÈÛÙËÌÔ-

ÓÈÎÔ‡˜ Î·È ÛÙÚ·ÙÈˆÙÈÎÔ‡˜ ÛÎÔÔ‡˜: ÁÈ· ÎÙËÌ·ÙÔÏfiÁÈ· (‡„Ô˜ ˆ˜ 1.000

Ì¤ÙÚ·), ÁÈ· ÙÔÔÁÚ·ÊÈÎ¿ ‰È·ÁÚ¿ÌÌ·Ù· (‡„Ô˜ 2.000-4.000 Ì¤ÙÚ·) Î·È

ÁÈ· ÙÔÔÁÚ·ÊÈÎÔ‡˜ ¯¿ÚÙÂ˜ (¿Óˆ ÙˆÓ 5.000 Ì¤ÙÚˆÓ). √È Ï‹„ÂÈ˜ Â›Ó·È

Â›ÙÂ Î·Ù·ÎfiÚ˘ÊÂ˜ Â›ÙÂ ÎÂÎÏÈÌ¤ÓÂ˜ (˘fi ÁˆÓ›·), ÔfiÙÂ ·ÔÎ·Ï‡ÙÔ˘Ó

Î·Ï‡ÙÂÚ· ÙË ÌÔÚÊÔÏÔÁ›· ÙÔ˘ Â‰¿ÊÔ˘˜.

√È ‰ËÌÔÛÈÂ˘Ì¤ÓÂ˜ ÂÙ¿ ·ÂÚÔÊˆÙÔÁÚ·Ê›Â˜ ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜ ÂÓÙÔ›-

˙ÔÓÙ·È Î·Ù¿ ÚÔÛ¤ÁÁÈÛË ÛÙËÓ ÂÚ›Ô‰Ô 1947-1970, ÌÂ ¤ÌÊ·ÛË Ù·

¯ÚfiÓÈ· Á‡Úˆ ÛÙ· 1960, fiÙ·Ó Ë fiÏË ÁÓÒÚÈÛÂ fi¯È ·ÏÒ˜ ÌÂÁ¿ÏÂ˜,

·ÏÏ¿ Î·È Ù·¯‡Ù·ÙÂ˜ ÌÂÙ·‚ÔÏ¤˜.

°È· ÙËÓ ·ÎÚÈ‚‹ ¯ÚÔÓÔÏfiÁËÛË ÙˆÓ ÂÈÎfiÓˆÓ ÂÓÙÔ›˙Ô˘ÌÂ ·ÏÏ·Á¤˜ Ô˘

·ÊÔÚÔ‡Ó ÎÙ›ÚÈ·, Ó·Ô‡˜, ÏÈÌÂÓÈÎ¤˜, ÛÈ‰ËÚÔ‰ÚÔÌÈÎ¤˜ Î·È ·ÓÂÈÛÙËÌÈ·-

Î¤˜ ÂÁÎ·Ù·ÛÙ¿ÛÂÈ˜.

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˜ ÙË˜ ·Ï·È¿˜ fiÏË˜. ΔÔ ·Ú·ı·Ï¿ÛÛÈÔ

ÙÌ‹Ì· ÙË˜ Â›Ó·È ÎÙÈÛÌ¤ÓÔ ÌÂ ÙÔ Ó¤Ô ÔÏÂÔ‰ÔÌÈÎfi Û¯¤‰ÈÔ. ™Ù· ‰ÂÍÈ¿: Ë

Û¯Â‰fiÓ ·‰fiÌËÙË ÂÚÈÔ¯‹ Ô˘ ÌÂÛÔÏ·‚Ô‡ÛÂ ÌÂÙ·Í‡ ÙË˜ ·Ï·È¿˜

fiÏË˜ Î·È ÙˆÓ ·Ó·ÙÔÏÈÎÒÓ Û˘ÓÔÈÎÈÒÓ.

™ÙÔ Î¤ÓÙÚÔ ÙË˜ ·Ï·È¿˜ fiÏË˜, Ë Ï·ÙÂ›· ∞ÚÈÛÙÔÙ¤ÏÔ˘˜ (ÚÔ˜ ÙÔ

·ÚÈÛÙÂÚfi ÙÌ‹Ì· ÙË˜ ÂÈÎfiÓ·˜) ¤¯ÂÈ ·ÎfiÌË ÎÂÓ¿ ÔÈÎfiÂ‰· (fiÔ˘ ÏÂÈ-

ÙÔ˘ÚÁÔ‡Ó ıÂÚÈÓÔ› ÎÈÓËÌ·ÙÔÁÚ¿ÊÔÈ). μÔÚÂÈfiÙÂÚ·, Ë Ï·ÙÂ›· ÙË˜

∞Ú¯·›·˜ ∞ÁÔÚ¿˜ ·Ú·Ì¤ÓÂÈ ÎÂÓ‹ Î·È ·‰È·ÚÚ‡ıÌÈÛÙË. ∫ÂÓ‹, Â›ÛË˜,

ÛÙÔ ‡„Ô˜ ÙË˜ ÚÔ‚Ï‹Ù·˜ ÙÔ˘ ÏÈÌ·ÓÈÔ‡, Ê·›ÓÂÙ·È Ë Ï·ÙÂ›· ∂ÏÂ˘ıÂ-

Ú›·˜.

¶ÚÔ˜ Ù· ‰ÂÍÈ¿ ‰È·ÎÚ›ÓÔÓÙ·È ÌfiÓÔ Ù· ÙÚ›· Î‡ÚÈ· ÎÙ›ÚÈ· ÙË˜ ¢ÈÂıÓÔ‡˜

ŒÎıÂÛË˜ 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 ÌÂ ÌÂÁ¿Ï· ÛÙÔÈ¯Â›· ÛÙËÓ ÎÔÚ˘Ê‹ ÙË˜ ÛÂÏ›‰·˜ ·ÓÙÈÛÙÔÈ-

¯Â› ÛÙÔÓ ·‡ÍÔÓÙ· ·ÚÈıÌfi Î¿ıÂ ÊˆÙÔÁÚ·Ê›·˜ ÙË˜ ·ÚÔ‡Û·˜ ¤Î‰Ô-

ÛË˜.

ΔÔ ÎÂ›ÌÂÓÔ ¿Óˆ ·fi ÙÔÓ Ù›ÙÏÔ Î¿ıÂ ÊˆÙÔÁÚ·Ê›·˜ Â›Ó·È Ô ·Ú¯ÈÎfi˜

˘ÔÌÓËÌ·ÙÈÛÌfi˜ Ô˘ ˘‹Ú¯Â ÛÙÔ ºˆÙÔÁÚ·ÊÈÎfi ∞Ú¯Â›Ô ÙË˜ °ÂÓÈÎ‹˜

°Ú·ÌÌ·ÙÂ›·˜ ∂ÈÎÔÈÓˆÓ›·˜-°ÂÓÈÎ‹˜ °Ú·ÌÌ·ÙÂ›·˜ ∂ÓËÌ¤ÚˆÛË˜.

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.

∞ÂÚÔÊˆÙÔÁÚ·Ê›· ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜. ∏ Ï‹„Ë ¤ÁÈÓÂ 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


∞ ∂ ƒ √ º ø Δ √ ° ƒ ∞ º π ∂ ™2

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏20k

™Â ÚÒÙÔ Ï¿ÓÔ, ‰ÂÍÈ¿, Ë ¶˘Ï·›·. ¶›Ûˆ ÙË˜ Ë ΔÔ‡Ì·, ·ÚÈÛÙÂÚ¿ Ô

Û˘ÓÔÈÎÈÛÌfi˜ Ã·ÚÈÏ¿Ô˘. ¶ÈÔ ·ÚÈÛÙÂÚ¿, Î·Ù¿ Ì‹ÎÔ˜ ÙË˜ ·ÎÙ‹˜, ÔÈ

Û˘ÓÔÈÎ›Â˜ ·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›¯Â

·ÔÎ·Ù·ÛÙ·ıÂ› Ô ·Ï·Èfi˜ Î˘Ì·ÙÔıÚ·‡ÛÙË˜ (Ì‹ÎÔ˘˜ 550 Ì¤ÙÚˆÓ)

Î·È Â›¯Â ÚÔÛÙÂıÂ› Ó¤Ô ÙÌ‹Ì· (650 Ì¤ÙÚˆÓ) ÛÂ ÁˆÓ›· 120 ÌÔÈÚÒÓ

ÂÚ›Ô˘. ÕÚ· Ë Ï‹„Ë ¤ÁÈÓÂ ÚÔ ÙÔ˘ 1950.

∞ÂÚÔÊˆÙÔÁÚ·Ê›· ÙË˜ ∞Ó·ÙÔÏÈÎ‹˜ £ÂÛÛ·ÏÔÓ›ÎË˜,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


∞ ∂ 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¯ÔÏÂ›Ô.

∏ ÔÈÎÔ‰fiÌËÛË ÙÔ˘ Ó·Ô‡ Û˘ÓÂ¯È˙fiÙ·Ó ÛÙË ‰ÂÎ·ÂÙ›· ÙÔ˘ 1950. ∏

¯ÚÔÓÔÏÔÁ›· 1962 ÂÈ‚Â‚·ÈÒÓÂÙ·È ÂÌÌ¤Ûˆ˜ ·fi ÙÔ ÁÂÁÔÓfi˜ fiÙÈ Ô

Ó·fi˜ Ê·›ÓÂÙ·È Ó· ¤¯ÂÈ ÂÚ·ÙˆıÂ›.

∞ÂÚÔÊˆÙÔÁÚ·Ê›· ÙÔ˘ ÚÔÛÊ˘ÁÈÎÔ‡ Û˘ÓÔÈÎÈÛÌÔ‡ÙË˜ ∫¿Ùˆ ΔÔ‡Ì·˜, 1962

¶ÚÔÛÊ˘ÁÈÎ¤˜ Î·ÙÔÈÎ›Â˜, 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


∞ ∂ ƒ √ º ø Δ √ ° ƒ ∞ º π ∂ ™4

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏24k

∏ Î·Ù·ÛÎÂ˘‹ ÙÔ˘ ÛÙ·ıÌÔ‡ ÍÂÎ›ÓËÛÂ ÙÔ 1939, ‰È·ÎfiËÎÂ ÏfiÁˆ ÙÔ˘

ÔÏ¤ÌÔ˘ Î·È Í·Ó¿Ú¯ÈÛÂ ÙÔ 1949. ΔÔ 1951, ËÌÈÙÂÏ‹˜ ·ÎfiÌË, Ô ÛÙ·ı-

Ìfi˜ ¿Ú¯ÈÛÂ Ó· ÏÂÈÙÔ˘ÚÁÂ›. √È ÂÚÁ·Û›Â˜ Û˘ÓÂ¯›ÛÙËÎ·Ó Î·È ÂÁÎ·ÈÓÈ¿-

ÛÙËÎÂ ÂÈÛ‹Ìˆ˜ ÛÙÈ˜ 4.2.1962. ™ÙËÓ Ï·ÙÂ›· ÌÚÔÛÙ¿ ÛÙÔ ÛÙ·ıÌfi

‰È·ÎÚ›ÓÂÙ·È ·ÛÙÈÎfi ÏÂˆÊÔÚÂ›Ô. ¢ÂÍÈ¿, Ô ÏÔÍfi˜ ‰ÚfiÌÔ˜ Â›Ó·È Ë Ô‰fi˜

∞Ó·ÁÂÓÓ‹ÛÂˆ˜, Ë ÔÔ›· ‰ÂÓ ¤¯ÂÈ ÛÈ‰ËÚÔ‰ÚÔÌÈÎ¤˜ ÁÚ·ÌÌ¤˜, ¿Ú· Ë

Ï‹„Ë ¤ÁÈÓÂ ÌÂÙ¿ ÙÔ 1956. ∏ Ô‰fi˜ ªÔÓ·ÛÙËÚ›Ô˘ ‰ÂÓ ¤¯ÂÈ ‰È·Ï·Ù˘Ó-

ıÂ›, ¿Ú· Â›Ì·ÛÙÂ ÚÈÓ ·fi ÙÔ 1965. ∂›ÛË˜, ÔÈ ÎÙËÓÈ·ÙÚÈÎ¤˜ ÎÏÈÓÈÎ¤˜

(¿ÎÚÔ ‰ÂÍÈ¿) ÂÈÎÔÓ›˙ÔÓÙ·È ÛÂ Î·Ù¿ÛÙ·ÛË Ô˘ Ì·˜ Ô‰ËÁÂ› ¯ÚÔÓÔÏÔÁÈ-

Î¿ ÚÈÓ ·fi ÙÔ 1964. ªÂ ‚¿ÛË ·˘Ù¿ Ù· ‰Â‰ÔÌ¤Ó· Î·È ÙËÓ ÔÌÔÈfiÙË-

Ù· ÛÙÔ ‡„Ô˜ ÌÂ ÙËÓ ·ÂÚÔÊˆÙÔÁÚ·Ê›· ÙË˜ ΔÔ‡Ì·˜, Ë Ï‹„Ë Ú¤ÂÈ

Ó· ¤ÁÈÓÂ ÙÔ 1962.

∞ÂÚÔÊˆÙÔÁÚ·Ê›· ÙÔ˘ ™È‰ËÚÔ‰ÚÔÌÈÎÔ‡ ™Ù·ıÌÔ‡ £ÂÛÛ·ÏÔÓ›ÎË˜ Î·È ÙË˜ 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


∞ ∂ ƒ √ º ø Δ √ ° ƒ ∞ º π ∂ ™5

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏26k

∏ ¯ÚÔÓÔÏfiÁËÛË Û˘ÌÊˆÓÂ› ÌÂ ÙÔ ÂÚÈÂ¯fiÌÂÓfi ÙË˜ ÊˆÙÔÁÚ·Ê›·˜. ™ÙÔ

Î¤ÓÙÚÔ ÙÔ ÎÙ›ÚÈÔ ÙˆÓ ÙÚ·Â˙ÒÓ ∂ıÓÈÎ‹˜ Î·È ∂ÏÏ¿‰Ô˜ (ÌÂ Ù· ‰‡Ô

ıÔÏˆÙ¿ ÎÙ›ÛÌ·Ù· ÛÙËÓ ÛÙ¤ÁË). ™Ù· ·ÚÈÛÙÂÚ¿ ÙÔ˘ Ù· ÎÙ›ÚÈ· ÙˆÓ ÚÒ-

ËÓ ÙÚ·Â˙ÒÓ ∞ıËÓÒÓ Î·È μÈÔÌË¯·Ó›·˜ (ÌÂ ÙËÓ Î·ı’ ‡„Ô˜ Â¤ÎÙ·ÛË).

ŒÂÙ·È ÙÔ Ì¤Á·ÚÔ ∫fiÊÊ·. ™ÙÔ ·ÚÈÛÙÂÚfi Î¿Ùˆ ¿ÎÚÔ ÙË˜ ÊˆÙÔÁÚ·-

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˜ ÙË˜ Ô‰Ô‡ ∫ÔÌÓË-

ÓÒÓ). Δ· ÎÙ›ÚÈ· ·˘Ù¿ ÔÚ›˙Ô˘Ó ÙËÓ ÔÚÂ›· ÙË˜ Ô‰Ô‡ ΔÛÈÌÈÛÎ‹, Ë ÔÔ›·

ÛÙ·Ì·Ù¿ ÛÙÔ ‡„Ô˜ ÙË˜ Ô‰Ô‡ ∫·ÙÔ‡ÓË (‰ÂÓ ¤¯ÂÈ ‰ËÌÈÔ˘ÚÁËıÂ› ·ÎfiÌË

Ë ÌÂÙ¤ÂÈÙ· Ô‰fi˜ ¶ÔÏ˘ÙÂ¯ÓÂ›Ô˘). ™ÙÔ ·ÚÈÛÙÂÚfi Ì¤ÛÔ ÙË˜ ÊˆÙÔÁÚ·-

Ê›·˜ Ë ÚÒÙË ÚÔ‚Ï‹Ù· ÙÔ˘ ÏÈÌ·ÓÈÔ‡ Î·È ÛÙÔ Ï¿È Î·È ‰ÂÍÈ¿ ÙË˜ Ë

Ï·ÙÂ›· ∂ÏÂ˘ıÂÚ›·˜, ÌÂ Ï›Á· ÛÙ·ıÌÂ˘Ì¤Ó· ·˘ÙÔÎ›ÓËÙ·. ™ÙÔ Ì¤ÛÔ ÙË˜

ÂÈÎfiÓ·˜ ÙÔ ÙÂÏˆÓÂ›Ô ÙÔ˘ 1910 (Ó˘Ó ÂÈ‚·ÙÈÎfi˜ ÂÌÔÚÂ˘Ì·ÙÈÎfi˜

ÛÙ·ıÌfi˜). ¢È·ÎÚ›ÓÔÓÙ·È Â›ÛË˜ Ë ‰Â‡ÙÂÚË Î·È Ë ÙÚ›ÙË ÚÔ‚Ï‹Ù·

(§·ÓÁÎ·Û¿ÈÚ). ™ÙÔ ‰ÂÍÈfi Î¿Ùˆ Ì¤ÚÔ˜ Ë ·Ó·ÙÔÏÈÎ‹ fi„Ë ÙÔ˘ ∞Á›Ô˘

ªËÓ¿.

∞ÂÚÔÊˆÙÔÁÚ·Ê›· ÙÔ˘ ÂÌÔÚÈÎÔ‡ Î¤ÓÙÚÔ˘ ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜ (·fi ÙËÓ Ô‰fi∫ÔÌÓËÓÒÓ Ì¤¯ÚÈ ÙË ÛËÌÂÚÈÓ‹ Ô‰fi ™·Ï·Ì›ÓÔ˜), 1959

°ÂÓÈÎ‹ ¿Ô„Ë ÙÔ˘ ÏÈÌ·ÓÈÔ‡ ÊˆÙÔÁÚ·ÊËÌ¤ÓË ·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


∞ ∂ ƒ √ º ø Δ √ ° ƒ ∞ º π ∂ ™6

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏28k

∏ ¯ÚÔÓÔÏfiÁËÛË Û˘ÌÊˆÓÂ› ÌÂ ÙÔ ÂÚÈÂ¯fiÌÂÓÔ ÙË˜ ÊˆÙÔÁÚ·Ê›·˜. ™ÙÔ

ÏÈÌ¿ÓÈ ¤¯ÂÈ ‰ËÌÈÔ˘ÚÁËıÂ› Î·È Ë Ù¤Ù·ÚÙË ÚÔ‚Ï‹Ù· (ÌÂ ÙÔ ÛÈÏfi: ÛÙÔ

¿Óˆ ÎÂÓÙÚÈÎfi ÙÌ‹Ì· ÙË˜ ÂÈÎfiÓ·˜) Î·È ¤¯ÂÈ ·Ú¯›ÛÂÈ Ë Î·Ù·ÛÎÂ˘‹ ÙË˜

¤ÌÙË˜. ™Â ÚÒÙÔ Ï¿ÓÔ Ë Ô‰fi˜ ∞ÚÈÛÙÔÙ¤ÏÔ˘˜ (·ÚÈÛÙÂÚ¿ Ë Ù·˘ÙÒ-

Ó˘ÌË Ï·ÙÂ›· ÌÂ ÙÔÓ ıÂÚÈÓfi ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ «∏Ï‡ÛÈ·»). ΔÔ ÌÂÛ·›Ô

ÙÌ‹Ì· ÙË˜ ÊˆÙÔÁÚ·Ê›·˜ Â›Ó·È Û˘ÁÎÚ›ÛÈÌÔ ÌÂ ÙÔ ÌÂÛ·›Ô ÙÌ‹Ì· ÙË˜

ÚÔËÁÔ‡ÌÂÓË˜: Δ· ÂÚÈÛÛfiÙÂÚ· ÎÙ›ÚÈ· ¤¯Ô˘Ó Î·ÙÂ‰·ÊÈÛÙÂ› Î·È ·ÓÔÈ-

ÎÔ‰ÔÌËıÂ› ‹ ÂÂÎÙ¿ıËÎ·Ó Î·ı’ ‡„Ô˜.

∞ÂÚÔÊˆÙÔÁÚ·Ê›· ÙÔ˘ ÂÌÔÚÈÎÔ‡ Î¤ÓÙÚÔ˘ ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜ (·fi ÙËÓ Ô‰fi∞ÚÈÛÙÔÙ¤ÏÔ˘˜ Ì¤¯ÚÈ ÙËÓ Ù¤Ù·ÚÙËÏÈÌÂÓÈÎ‹ 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


∞ ∂ 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˘ (Î¿Ùˆ)

Ì¤¯ÚÈ ÙËÓ ·ÎÙ‹. ™ÙÔ Î¤ÓÙÚÔ ÙË˜ ÂÈÎfiÓ·˜ ‰ÂÛfi˙Ô˘Ó Ù· ÎÙ›ÚÈ· ÙˆÓ

Û¯ÔÏÒÓ Ô˘ Û¯ËÌ·Ù›˙Ô˘Ó ÙÂÙÚ¿ÁˆÓÔ (ÛÂ ·Ú¤ÓıÂÛË ÙÔ ¤ÙÔ˜ ÏÂÈ-

ÙÔ˘ÚÁ›·˜): ¡√∂ (1967 ÙÔ ‰ÂÍÈfi ÙÌ‹Ì·, 1972 ÙÔ Û‡ÓÔÏÔ), ºÈÏÔÛÔÊÈ-

Î‹˜ (1973), £ÂÔÏÔÁÈÎ‹˜ (1971) Î·È ÙÔ ÎÙ›ÚÈÔ ¢ÈÔÈÎ‹ÛÂˆ˜ (1969). ™Ù·

·ÚÈÛÙÂÚ¿ Ë ÎÂÓÙÚÈÎ‹ ·ÓÂÈÛÙËÌÈ·Î‹ ‚È‚ÏÈÔı‹ÎË (1974). ™ÙÔ Ì¤ÛÔ

ÙË˜ ÂÈÎfiÓ·˜ ‰È·ÎÚ›ÓÂÙ·È ÙÔ ÁÏ˘Ùfi ÙÔ˘ °. ∑ÔÁÁÔÏfiÔ˘ÏÔ˘, ÛÙËÓ

‡ÏË ÙË˜ ¢∂£ ÙË˜ Ï·ÙÂ›·˜ ™ÈÓÙÚÈ‚·Ó›Ô˘ (ÙÔÔıÂÙ‹ıËÎÂ ÙÔ 1966).

∂›ÛË˜, ¤¯ÂÈ ÔÏÔÎÏËÚˆıÂ› Ë Â¤ÎÙ·ÛË ÙˆÓ ¯ÒÚˆÓ ÙË˜ ¢∂£ ÚÔ˜ ÙËÓ

∂ÁÓ·Ù›·, fiˆ˜ Î·È Ë Â¤ÎÙ·ÛË ÙˆÓ ÁÚ·ÊÂ›ˆÓ ‰ÈÔÈÎ‹ÛÂˆ˜ (1969).

∞ÂÚÔÊˆÙÔÁÚ·Ê›· ÙË˜ ·ÓÂÈÛÙËÌÈÔ‡ÔÏË˜ Î·È ÙË˜ ¢∂£, 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


kkk

Δ √ § π ª ∞ ¡ πΔ H E P O R T

ΔÔ ÏÈÌ¿ÓÈ ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜ ·ÔÙÂÏÂ› ÙÔ ÙÌ‹Ì· ÙË˜ fiÏË˜ ÌÂ ÙË ÌÂÁ·-

Ï‡ÙÂÚË ‰È·¯ÚÔÓÈÎ‹ Û˘¯ÓfiÙËÙ· ÂÈÎ·ÛÙÈÎ‹˜ Î·È ÂÈ‰ÈÎÒ˜ ÊˆÙÔÁÚ·ÊÈÎ‹˜

·ÂÈÎfiÓÈÛË˜. ∏ ˘„ËÏ‹ Û˘¯ÓfiÙËÙ· ÂÚÌËÓÂ‡ÂÙ·È ·ÊÂÓfi˜ ·fi ÙË Û·ÁË-

ÓÂ˘ÙÈÎ‹ ·›ÛıËÛË Ô˘ ‰ËÌÈÔ˘ÚÁÔ‡ÛÂ Ë fiÏË ÛÙÔÓ ÂÈÛÎ¤ÙË -fiÙ·Ó

¤ÊÙ·ÓÂ ·fi ÙË ı¿Ï·ÛÛ·- ·ÊÂÙ¤ÚÔ˘ ·fi ÙÈ˜ ÌÂÁ¿ÏÂ˜ ÌÂÙ·ÌÔÚÊÒÛÂÈ˜

Ô˘ ÁÓÒÚÈÛÂ ÙÔ ›‰ÈÔ ÙÔ ÏÈÌ¿ÓÈ Î·Ù¿ ÙËÓ ÂÚ›Ô‰Ô ·fi ÙÔ 1870 Ì¤¯ÚÈ Î·È

ÙÈ˜ Ì¤ÚÂ˜ Ì·˜. ∏ ·ÏÏËÏÔ˘¯›· ÙÂ¯ÓÈÎÒÓ ¤ÚÁˆÓ ÚÔÛ‰›‰ÂÈ ÛÙÈ˜ ÏÈÌÂÓÈÎ¤˜

ÂÁÎ·Ù·ÛÙ¿ÛÂÈ˜ ·˘ÙÔÙÂÏ¤˜ ÊˆÙÔÁÚ·ÊÈÎfi ÂÓ‰È·Ê¤ÚÔÓ.

¶ÚÈÓ ·fi ÙÔ 1870 ÙÔ ÏÈÌ¿ÓÈ ‹Ù·Ó Ê˘ÛÈÎfi. ™ÙÈ˜ ˘ÔÙ˘Ò‰ÂÈ˜ ÂÁÎ·Ù·-

ÛÙ¿ÛÂÈ˜ Ô˘ ÔÈÎÔ‰ÔÌ‹ıËÎ·Ó ÙÔ 1870, ÚÔÛÙ¤ıËÎ·Ó ÙÔ 1900 ‰‡Ô

ÚÔ‚Ï‹ÙÂ˜ Î·È ÙÔ ÎÂÓÙÚÈÎfi ÎÚË›‰ˆÌ· - ÌÂ ¤ÌÏËÛË ÙË˜ ı¿Ï·ÛÛ·˜-

Î·ıÒ˜ Î·È ¿ÏÏÂ˜ ÂÁÎ·Ù·ÛÙ¿ÛÂÈ˜ Ì¤¯ÚÈ ÙÔ 1910. ΔÔ 1944 ·Ô¯ˆÚÒ-

ÓÙ·˜ Ù· Ó·˙ÈÛÙÈÎ¿ ÛÙÚ·ÙÂ‡Ì·Ù· ·Ó·Ù›Ó·Í·Ó Ù· ÎÙ›ÚÈ· Î·È ˘ÔÓfiÌÂ˘-

Û·Ó ÙÔÓ ˘ıÌ¤Ó·. ø˜ ÙÔ 1950 Ú·ÁÌ·ÙÔÔÈ‹ıËÎ·Ó ÔÈ Î˘ÚÈfiÙÂÚÂ˜ ÂÈ-

ÛÎÂ˘¤˜ Î·È ÛÙË Û˘Ó¤¯ÂÈ· ÍÂÎ›ÓËÛÂ Ë Ï‹ÚË˜ ·ÔÎ·Ù¿ÛÙ·ÛË Î·È Â¤-

ÎÙ·ÛË ÙÔ˘ ÏÈÌ·ÓÈÔ‡.

√È ÂÈÏÂÁÌ¤ÓÂ˜ Û˘Ó·ÊÂ›˜ ·ÂÈÎÔÓ›ÛÂÈ˜ ·fi ÙË Û˘ÏÏÔÁ‹ ÙË˜ °ÂÓÈÎ‹˜

°Ú·ÌÌ·ÙÂ›·˜ ∂ÈÎÔÈÓˆÓ›·˜ - °ÂÓÈÎ‹˜ °Ú·ÌÌ·ÙÂ›·˜ ∂ÓËÌ¤ÚˆÛË˜ ÍÂÎÈ-

ÓÔ‡Ó ·fi ÙÔÓ ÚÒÙÔ ·ÁÎfiÛÌÈÔ fiÏÂÌÔ Î·È ÊÙ¿ÓÔ˘Ó ˆ˜ ÙÔ 1970. √È

·Ï·ÈfiÙÂÚÂ˜ Ï‹„ÂÈ˜ ÚÔÛı¤ÙÔ˘Ó ÛÙÔÓ ÙÔÌ¤· ÙË˜ ÈÛÙÔÚ›·˜ ÌÈÎÚ‹˜ ÎÏ›-

Ì·Î·˜, ÂÓÒ ÔÈ ÌÂÙ·ÁÂÓ¤ÛÙÂÚÂ˜ ·ÚÔ˘ÛÈ¿˙Ô˘Ó ÈÛ¯˘ÚfiÙÂÚÔ ÂÓ‰È·Ê¤ÚÔÓ

ˆ˜ ÚÔ˜ ÙË ‰Ú·ÛÙËÚÈfiÙËÙ· ÁÈ· ÙËÓ Â¤ÎÙ·ÛË Î·È Û˘ÌÏ‹ÚˆÛË ÙˆÓ

ÏÈÌÂÓÈÎÒÓ ÂÁÎ·Ù·ÛÙ¿ÛÂˆÓ.

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

™ÙÈ˜ 23 ™ÂÙÂÌ‚Ú›Ô˘ 1915 ·fi Ù· Á·ÏÏÈÎ¿ Î·È ·ÁÁÏÈÎ¿ ÔÏÂÌÈÎ¿

ÏÔ›·, Ô˘ Â›¯·Ó ·Ú¯›ÛÂÈ Ó· Û˘ÁÎÂÓÙÚÒÓÔÓÙ·È ÛÙÔ ÏÈÌ¿ÓÈ ·fi ÙÈ˜ 17

ÙÔ˘ ›‰ÈÔ˘ Ì‹Ó·, ¿Ú¯ÈÛ·Ó Ó· ·Ô‚È‚¿˙ÔÓÙ·È ÛÙÚ·ÙÈÒÙÂ˜. ™ÎÔfi˜ ÙË˜

·Ô‚›‚·ÛË˜ Î·È ÙË˜ Û˘ÁÎ¤ÓÙÚˆÛ‹˜ ÙÔ˘˜ ÛÙË £ÂÛÛ·ÏÔÓ›ÎË ‹Ù·Ó Ó·

ÏÂÈÙÔ˘ÚÁ‹ÛÔ˘Ó ·ÔÙÚÂÙÈÎ¿ ÁÈ· ÂÓ‰Â¯fiÌÂÓË Â›ıÂÛË ÙË˜ μÔ˘ÏÁ·-

Ú›·˜ Î·Ù¿ ÙË˜ ™ÂÚ‚›·˜. ΔÔ ›‰ÈÔ ·fiÁÂ˘Ì· Â›¯Â ÛËÌÂÈˆıÂ› Ì›· ·ÎfiÌË

Û‡ÁÎÚÔ˘ÛË ÌÂÙ·Í‡ ∫ˆÓÛÙ·ÓÙ›ÓÔ˘ ∞ã Î·È ∂ÏÂ˘ıÂÚ›Ô˘ μÂÓÈ˙¤ÏÔ˘ Î·È

Ô ÙÂÏÂ˘Ù·›Ô˜ Â›¯Â ·Ú·ÈÙËıÂ›.

°·ÏÏÈÎ¿ ÏÔ›· ÛÙÔ ÏÈÌ¿ÓÈ ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜, 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


£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏36k

Δ· Û˘ÌÌ·¯ÈÎ¿ ÛÙÚ·ÙÂ‡Ì·Ù· ·Ú¤ÌÂÈÓ·Ó ÛÙË £ÂÛÛ·ÏÔÓ›ÎË Ì¤¯ÚÈ ÙË

Ï‹ÍË ÙÔ˘ ÚÒÙÔ˘ ·ÁÎÔÛÌ›Ô˘ ÔÏ¤ÌÔ˘. √ Û˘ÓÔÏÈÎfi˜ ·ÚÈıÌfi˜ ÙÔ˘˜

‰ÂÓ ¤¯ÂÈ ‰È·ÈÛÙˆıÂ› ·Ú¿ ÌfiÓÔÓ Î·Ù¿ ÚÔÛ¤ÁÁÈÛË, ‹Ù·Ó fiÌˆ˜

·ÈÛıËÙ¿ ÌÂÁ·Ï‡ÙÂÚÔ˜ ·fi ÙÔ ÌfiÓÈÌÔ ÏËı˘ÛÌfi ÙË˜ fiÏË˜. ∏ ·ÚÔ˘-

Û›· ÙÔ˘˜ Û˘Ó‰¤ıËÎÂ ÌÂ ÏÔ˘ÙÈÛÌfi ÁÈ· ÔÚÈÛÌ¤ÓÔ˘˜ ÂÌfiÚÔ˘˜ ·ÏÏ¿

Î·È ÌÂ ÛÙÂÓfiÙËÙ· ÙÚÔÊ›ÌˆÓ ÁÈ· ÙËÓ ÏÂÈÔÓfiÙËÙ· ÙÔ˘ ÏËı˘ÛÌÔ‡. Ÿ¯È

ÌfiÓÔ Ù· ‚·ÛÈÎ¿ ÙÚfiÊÈÌ· ‰›ÓÔÓÙ·Ó ÌÂ ‰ÂÏÙ›Ô, ·ÏÏ¿ ÙÔ 1917 ÌfiÓÔÓ ÛÂ

ÈÛÙÔÔÈËÌ¤ÓÔ˘˜ ·ÛıÂÓÂ›˜ ·Ú¤¯ÔÓÙ·Ó Ì·Î·ÚfiÓÈ·.

∞fi‚·ÛË Á·ÏÏÈÎÔ‡ ÈÈÎÔ‡ ÛÙÔ ÏÈÌ¿ÓÈ ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜,Ì¿ÏÏÔÓ ÛÙË ‰Â‡ÙÂÚË ÚÔ‚Ï‹Ù·(™ÂÙ¤Ì‚ÚÈÔ˜ ‹ √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 P O R T 9

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏38k

°¿ÏÏÔÈ ÛÙÚ·ÙÈÒÙÂ˜ ÌÚÔÛÙ¿ ÛÙÔ ÎÙ›ÚÈÔ ÙË˜ Û˘ÌÌ·¯ÈÎ‹˜ ÛÙÚ·ÙÈˆÙÈÎ‹˜

‰ÈÔ›ÎËÛË˜, ÛÙËÓ Ô‰fi ™·Ï·Ì›ÓÔ˜. ∏ ÛÎËÓ‹ ‹Ù·Ó Û˘Ó‹ıË˜ ÛÙ· Ù¤ÏË

ÙÔ˘ 1915 Î·È ÙÔ 1916. ∏ Ô‰fi˜ ™·Ï·Ì›ÓÔ˜, Ô˘ ÛÙÔ Û˘ÁÎÂÎÚÈÌ¤ÓÔ

ÙÌ‹Ì· Â›¯Â ‰È·Ï·Ù˘ÓıÂ›, Ô‰ËÁÔ‡ÛÂ ÛÙÔ ÎÙ›ÚÈÔ ÙÔ˘ ÙÂÏˆÓÂ›Ô˘, Ô˘

ÛÙÈ˜ Ì¤ÚÂ˜ Ì·˜ ÏÂÈÙÔ˘ÚÁÂ› ˆ˜ ÂÈ‚·ÙÈÎfi˜ ÛÙ·ıÌfi˜.

∏ Û˘ÌÌ·¯ÈÎ‹ ¤‰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 P O R T 10

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏40k

∏ ›‰È· ÂÚÈÔ¯‹ ÌÂ ÙËÓ ÚÔËÁÔ‡ÌÂÓË ÊˆÙÔÁÚ·Ê›·. ∂ÈÎÔÓ›˙ÂÙ·È, ÙËÓ

›‰È· ÂÔ¯‹ ÙÔ ÚÔ˜ ‚ÔÚÚ¿ ÙÌ‹Ì· ÙË˜ Ô‰Ô‡ ™·Ï·Ì›ÓÔ˜. ∏ ·ÚÔ˘Û›·

ÙˆÓ Û˘ÌÌ·¯ÈÎÒÓ ÛÙÚ·ÙÂ˘Ì¿ÙˆÓ Û˘Ó‰¤ıËÎÂ ÌÂ ÙËÓ Î˘ÎÏÔÊÔÚ›· ·˘-

ÙÔÎÈÓ‹ÙˆÓ ÛÙË £ÂÛÛ·ÏÔÓ›ÎË, Ë ÔÔ›· ‰È¤ıÂÙÂ 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 P O R T 11

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏42k

∏ ˘ÚÎ·ÁÈ¿ ÙË˜ 5Ë˜ Î·È 6Ë˜ ∞˘ÁÔ‡ÛÙÔ˘ 1918 ·ÔÙ¤ÏÂÛÂ -ÏfiÁˆ ÙË˜

¤ÎÙ·ÛË˜ ÙˆÓ Î·Ù·ÛÙÚÔÊÒÓ ÙË˜- ÔÚfiÛËÌÔ ÛÙËÓ Û‡Á¯ÚÔÓË ÈÛÙÔÚ›·

ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜. ŒıÈÍÂ, fiÌˆ˜, ÙÔ ÏÈÌ¿ÓÈ ÏÈÁfiÙÂÚÔ ·fi ¿ÏÏ· ÛËÌÂ›·

ÙË˜ fiÏË˜. ™ÙË Û˘ÁÎÂÎÚÈÌ¤ÓË ÊˆÙÔÁÚ·Ê›· Á¿ÏÏÔÈ Ó·˘ÙÈÎÔ› Î·È

ÛÙÚ·ÙÈÒÙÂ˜ ÂÚÈÂÚÁ¿˙ÔÓÙ·È fi,ÙÈ ¿ÊËÛÂ Ë ÊˆÙÈ¿ ÌÚÔÛÙ¿ ÛÙÈ˜ ·Ô-

ı‹ÎÂ˜ ÙË˜ ΔÚ¿Â˙·˜ £ÂÛÛ·ÏÔÓ›ÎË˜, ÛÙÔ ÏÈÌ¿ÓÈ. √ ÙfiÔ˜ ‹Ù·Ó ·ÚÎÂ-

Ù¿ Â˘Ú‡¯ˆÚÔ˜, ·Ó Ï¿‚Ô˘ÌÂ ˘fi„Ë fiÙÈ ÂÎÂ› ÂÍ¤ıÂÛ·Ó ÔÈ °¿ÏÏÔÈ ÁÂÚ-

Ì·ÓÈÎfi ·ÂÚÔÏ¿ÓÔ Ô˘ Â›¯Â ¤ÛÂÈ ÛÙ· ¯¤ÚÈ· ÙÔ˘˜.

¶˘ÚÎ·ÁÈ¿ ÛÙÔ ÏÈÌ¿ÓÈ

¶˘ÚÎ·ÁÈ¿ £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 P O R T 12

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏44k

ª›· ·ÎfiÌË Ï‹„Ë ÌÚÔÛÙ¿ ÛÙÈ˜ ·Ôı‹ÎÂ˜ ÙË˜ ΔÚ¿Â˙·˜ £ÂÛÛ·ÏÔ-

Ó›ÎË˜. ∞Ó ÎÚ›ÓÔ˘ÌÂ ·fi ÙË ¯ÂÈÌÂÚÈÓ‹ ÂÓ‰˘Ì·Û›· ÙˆÓ ·ÂÈÎÔÓÈ˙fiÌÂ-

ÓˆÓ Ó·˘ÙÈÎÒÓ Î·È ÛÙÚ·ÙÈˆÙÈÎÒÓ, Ë Ï‹„Ë Ú·ÁÌ·ÙÔÔÈ‹ıËÎÂ ·ÚÎÂ-

ÙÔ‡˜ Ì‹ÓÂ˜ ÌÂÙ¿ ÙËÓ ˘ÚÎ·ÁÈ¿ ÙÔ˘ ∞˘ÁÔ‡ÛÙÔ˘. ¶Èı·ÓÒ˜ ÚfiÎÂÈÙ·È

ÁÈ· Û˘ÓÂÚÁÂ›Ô Î·ÙÂ‰¿ÊÈÛË˜. ∏ ÌÂÙ·ÏÏÈÎ‹ ÈÓ·Î›‰· «∂ıÓÈÎ‹» ˘Ô‰Ë-

ÏÒÓÂÈ ›Ûˆ˜ ÙËÓ ·ÛÊ·ÏÈÛÙÈÎ‹ ÂÙ·ÈÚÂ›·. ∞fi ÙÔ 1908 Ë ΔÚ¿Â˙· £ÂÛ-

Û·ÏÔÓ›ÎË˜ Â›¯Â ¤‰Ú· ÙËÓ ∫ˆÓÛÙ·ÓÙÈÓÔ‡ÔÏË. ΔÔ ˘ÔÎ·Ù¿ÛÙËÌ¿ ÙË˜

ÛÙË £ÂÛÛ·ÏÔÓ›ÎË ÏÂÈÙÔ‡ÚÁËÛÂ Ì¤¯ÚÈ ÙÔ 1950 ÂÚ›Ô˘.

ªÈ· ·Ú¿ÍÂÓË ¯ÚÔÓÈÎ‹ ˘ÛÙ¤ÚËÛË

¶˘ÚÎ·ÁÈ¿ £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


T O § π ª ∞ ¡ π13


T H E P O R T 13

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏46k

ΔÔ ÙÂÏˆÓÂ›Ô (ÎÙ›ÛÌ· ÙÔ˘ 1910) ‹Ù·Ó Î·ÙÂÛÙÚ·ÌÌ¤ÓÔ «Î·Ù¿ ÙÔ ‹ÌÈ-

Û˘» ÌÂÙ¿ ÙËÓ ·Ô¯ÒÚËÛË ÙˆÓ Ó·˙ÈÛÙÈÎÒÓ ÛÙÚ·ÙÂ˘Ì¿ÙˆÓ ·fi ÙË

£ÂÛÛ·ÏÔÓ›ÎË (30.10.1944). ™‡ÌÊˆÓ· ÌÂ Â›ÛËÌË ¤ÎıÂÛË ÙË˜ ÂÔ-

¯‹˜, ÙÔ 80% ÙˆÓ ÂÁÎ·Ù·ÛÙ¿ÛÂˆÓ ÙÔ˘ ÏÈÌ·ÓÈÔ‡ Î·Ù·ÛÙÚ¿ÊËÎ·Ó

Î·Ù¿ ÙËÓ ÂÚ›Ô‰Ô ÙË˜ ∫·ÙÔ¯‹˜. ΔÔÓ πÔ‡ÓÈÔ ÙÔ˘ 1948 ÔÏÔÎÏËÚÒıË-

ÎÂ Ë Î·Ù·ÛÎÂ˘‹ ÙÔ˘ ÎÚËÈ‰ÒÌ·ÙÔ˜ ÌÚÔÛÙ¿ ÛÙÔ ÙÂÏˆÓÂ›Ô. ΔÔ ›‰ÈÔ ÙÔ

ÙÂÏˆÓÂ›Ô ÂÈ‰ÈÔÚıÒıËÎÂ Ì¤¯ÚÈ Ù· Ù¤ÏË ÙÔ˘ 1950.

ΔÔ ÎÙ›ÚÈÔ ÙÔ˘ ÙÂÏˆÓÂ›Ô˘, 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 P O R T 14

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏48k

∞fi ‰ÂÍÈ¿ ÚÔ˜ Ù· ·ÚÈÛÙÂÚ¿: Ë ÙÚ›ÙË, Ë Ù¤Ù·ÚÙË Î·È Ë Î·Ù·ÛÎÂ˘·˙fi-

ÌÂÓË ¤ÌÙË ÚÔ‚Ï‹Ù·. ªÚÔÛÙ¿ ·ÏÒÓÂÙ·È Ô Î˘Ì·ÙÔıÚ·‡ÛÙË˜. ∏

ÙÚ›ÙË ÚÔ‚Ï‹Ù· ÔÈÎÔ‰ÔÌ‹ıËÎÂ ·fi ÙÔ ‚ÚÂÙ·ÓÈÎfi Ù¿ÁÌ· ÌË¯·ÓÈÎÔ‡

Lancashire ÌÂÙ¿ ÙÔÓ fiÏÂÌÔ Î·È ·Ï·ÈfiÙÂÚ· ·ÔÎ·ÏÔ‡ÓÙ·Ó ÌÂ ÙÔ

fiÓÔÌ· ÙÔ˘ Ù¿ÁÌ·ÙÔ˜. ∏ Ù¤Ù·ÚÙË ÚÔ‚Ï‹Ù· Û¯Â‰È¿ÛÙËÎÂ ÙÔ 1960 Î·È

ÂÚÈÏ·Ì‚¿ÓÂÈ ÌÂÁ¿ÏÔ ÛÈÏfi. ΔÔ 1975 ÍÂÎ›ÓËÛÂ Ë ‰È·‰ÈÎ·Û›· ÁÈ· ÙËÓ

Î·Ù·ÛÎÂ˘‹ ÙË˜ ¤ÎÙË˜ ÚÔ‚Ï‹Ù·˜, ·ÊÔ‡ ÛÙÔ ÌÂÙ·Í‡ Â›¯Â ÔÏÔÎÏËÚˆ-

ıÂ› Ë Ù¤Ù·ÚÙË Î·È Â›¯Â Î·Ù·ÛÎÂ˘·ÛÙÂ› Ë ¤ÌÙË.

§ÈÌ¿ÓÈ £ÂÛÛ·ÏÔÓ›ÎË˜, 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 P O R T 15

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏50k

√ Ó¤Ô˜ Î˘Ì·ÙÔıÚ·‡ÛÙË˜, Ì‹ÎÔ˘˜ 650 Ì¤ÙÚˆÓ, Û˘ÌÏ‹ÚˆÛÂ ÙÔÓ

·Ï·Èfi (Ì‹ÎÔ˘˜ 550 Ì¤ÙÚˆÓ). ∫·Ù·ÛÎÂ˘¿ÛÙËÎÂ ·fi ÙÔ Ù¿ÁÌ· ÌË¯·-

ÓÈÎÔ‡ ÙÔ˘ Lancashire ÛÙËÓ ÂÚ›Ô‰Ô 1945-1948.

∫˘Ì·ÙÔıÚ·‡ÛÙË˜, 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 P O R T 16

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏52k

T O § π ª ∞ ¡ π17

∏ ·Ó·ÊÂÚfiÌÂÓË «ÓËÛ›‰·», Ô˘ Ë Î·Ù·ÛÎÂ˘‹ ÙË˜ ÙÔÔıÂÙÂ›Ù·È ÛÙ·

Ù¤ÏË ÙË˜ ‰ÂÎ·ÂÙ›·˜ ÙÔ˘ 1950, ‰ÂÓ Â›Ó·È ÁÓˆÛÙ‹ ·fi ¿ÏÏË ËÁ‹. ∏

·Ó¿ÁÎË ÙË˜ ‰ËÌÈÔ˘ÚÁ›·˜ ÙË˜ ÚÔÂÚ¯fiÙ·Ó ÚÔÊ·ÓÒ˜ ·fi ÙËÓ ¤ÏÏÂÈ-

„Ë Î·Ù¿ÏÏËÏˆÓ ÎÚËÈ‰ˆÌ¿ÙˆÓ. ¢Â‰ÔÌ¤ÓÔ˘ fiÙÈ ÛÙÔ ¿ÎÚÔ ÙË˜ Ù¤Ù·Ú-

ÙË˜ ÚÔ‚Ï‹Ù·˜ ÙÔ ‚¿ıÔ˜ ·Ó¤Ú¯ÂÙ·È ÛÂ 12 Ì¤ÙÚ· Î·È fiÙÈ Ë ÚÔ‚Ï‹Ù·

·˘Ù‹ Â›¯Â ·Ú¯›ÛÂÈ Ó· Î·Ù·ÛÎÂ˘¿˙ÂÙ·È ÙÔ 1960 (ÛÂ Ì‹ÎÔ˜ 130

Ì¤ÙÚˆÓ), Ë «ÙÂ¯ÓËÙ‹ ÓËÛ›˜» (Ô˘ Â›¯Â ·˘Ù¿ Ù· ¯·Ú·ÎÙËÚÈÛÙÈÎ¿) ı·

ÌÔÚÔ‡ÛÂ Ó· ‹Ù·Ó Úfi‰ÚÔÌË ÌÔÚÊ‹ ÙË˜ ÚÔ‚Ï‹Ù·˜.

∏ ¿ÁÓˆÛÙË «ÓËÛ›‰·»

∏ ÙÂ¯ÓËÙ‹ ÓËÛ›˜ ÂÓÙfi˜ ÙÔ˘ ∫fiÏÔ˘ ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜, ÂÈ˜ ·fiÛÙ·ÛÈÓ 800 Ì¤ÙÚˆÓ·fi ÙË˜ ·ÎÙ‹˜ Î·È ÂÈ˜ ‚¿ıÔ˜ ı·Ï¿ÛÛË˜ 12Ì¤ÙÚˆÓ. ∂È˜ Ù·‡ÙËÓ ı· ÂÎÊÔÚÙÒÓÔ˘Ó Î·È ı·ÊÔÚÙÒÓÔ˘Ó ÏÔ›· Ì¤¯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 P O R T 17

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏54k

™Â ÚÒÙÔ Ï¿ÓÔ Ë Ù¤Ù·ÚÙË ÚÔ‚Ï‹Ù· ÌÂ ÙÔ ÛÈÏfi. ™Ù· ·ÚÈÛÙÂÚ¿ ÙË˜ Ë

ÙÚ›ÙË ÚÔ‚Ï‹Ù· (Lancashire). Δ· ÎÂÓ¿ ÔÈÎfiÂ‰· ÙË˜ Ï·ÙÂ›·˜ ∞ÚÈ-

ÛÙÔÙ¤ÏÔ˘˜ ¤¯Ô˘Ó ·ÓÔÈÎÔ‰ÔÌËıÂ›, fiˆ˜ Î·È Ù· ·Ï·È¿ ‰ÈÒÚÔÊ· ÎÙ›-

ÛÌ·Ù· Â› ÙË˜ ·Ú·ÏÈ·Î‹˜ Ô‰Ô‡ ÚÔ˜ ÙÔ §Â˘Îfi ¶‡ÚÁÔ.

ΔÔ ÏÈÌ¿ÓÈ Î·È Ë ·Ú·Ï›· ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜, ·fi ‚ÔÚÂÈÔ‰˘ÙÈÎ‹ Î·ÙÂ‡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 P O R T 18

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏56k

∫·Ù¿ Ì‹ÎÔ˜ ÙÔ˘ ÎÚËÈ‰ÒÌ·ÙÔ˜ ¤¯ÂÈ ÙÔÔıÂÙËıÂ› ÛÈ‰ËÚÔ‰ÚÔÌÈÎ‹

ÁÚ·ÌÌ‹, ¿Óˆ ÛÙËÓ ÔÔ›· ÎÈÓÂ›Ù·È Ô ÁÂÚ·Ófi˜. ™ÙÔ ¿ÎÚÔ ‰ÂÍÈ¿ ÙÔ ÎÙ›-

ÚÈÔ ÙÔ˘ ÙÂÏˆÓÂ›Ô˘.

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 P O R T 19

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏58k

∏ Î·Ù·ÛÎÂ˘‹ ÙË˜ ¤ÎÙË˜ ÚÔ‚Ï‹Ù·˜ ·ÔÙ¤ÏÂÛÂ ‰È·¯ÚÔÓÈÎfi ÛÙfi¯Ô,

ÒÛÙÂ Ó· ÌË ‰ËÌÈÔ˘ÚÁÂ›Ù·È Û˘ÌÊfiÚËÛË ÛÙÔ ÏÈÌ¿ÓÈ ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜,

ÚÒÙÔ ·fi ¿Ô„Ë ÂÍ·ÁˆÁÈÎÔ‡ fiÁÎÔ˘ ÛÙËÓ ∂ÏÏ¿‰·.

¶ÏÔ›· ¯ˆÚ›˜ ÎÚËÈ‰ÒÌ·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 P O R T 20

kkk

¶ ∞ ƒ ∞ § π ∞Δ H E W A T E R F R O N T

™ÙË ıÂÌ·ÙÈÎ‹ ÙˆÓ ÔÙÈÎÒÓ ÙÂÎÌËÚ›ˆÓ ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜, Ë ·Ú·Ï›·

·ÔÙÂÏÂ› ı¤Ì· ÓÂfiÙÂÚÔ ·fi ÙÔ ÏÈÌ¿ÓÈ ‰ÈfiÙÈ Û˘ÓÈÛÙ¿ Î·È Û¯ÂÙÈÎ¿ Úfi-

ÛÊ·ÙÔ ÛÙÔÈ¯Â›Ô ÙË˜ fiÏË˜. ª¤¯ÚÈ ÙÈ˜ ·Ú¯¤˜ ÙË˜ ‰ÂÎ·ÂÙ›·˜ ÙÔ˘ 1870

‰ÂÓ ˘‹Ú¯Â ·Ú·Ï›·. ™ÙË ı¤ÛË ÙË˜ ÛËÌÂÚÈÓ‹˜ Ô‰Ô‡ ¶ÚÔÍ¤ÓÔ˘ ∫ÔÚÔ-

ÌËÏ¿ ˘„ˆÓfiÙ·Ó ·Ì˘ÓÙÈÎfi ı·Ï¿ÛÛÈÔ ÙÂ›¯Ô˜. ΔÔ ÙÂ›¯Ô˜ ÂÎÂ›ÓÔ Î·ÙÂ‰·-

Ê›ÛÙËÎÂ Î·È ‰ËÌÈÔ˘ÚÁ‹ıËÎ·Ó ÌÂ ¤ÌÏËÛË ÙË˜ ı¿Ï·ÛÛ·˜ ‰ÂÎ¿‰Â˜ Ó¤·

ÔÈÎfiÂ‰· Î·È ÌÈ· ÚÔÎ˘Ì·›·, Ì‹ÎÔ˘˜ 1.100 Ì¤ÙÚˆÓ, ·fi ÙÔ ÏÈÌ¿ÓÈ ˆ˜

ÙÔÓ §Â˘Îfi ¶‡ÚÁÔ ÛÙÂÓfiÙÂÚË ·fi ÙË ÛËÌÂÚÈÓ‹. ™ÙËÓ ÂÚ›Ô‰Ô 1903-

1907 Ú·ÁÌ·ÙÔÔÈ‹ıËÎÂ ‰È·Ï¿Ù˘ÓÛË ÙË˜ ÚÔÎ˘Ì·›·˜ Î·Ù¿ ÔÎÙÒ

Ì¤ÙÚ·, ÌÂ Î‡ÚÈÔ ÛÎÔfi ÙËÓ ÂÓ›Û¯˘ÛË ÙË˜ ÛÙÂÚÂfiÙËÙ¿˜ ÙË˜.

ΔËÓ ›‰È· ÂÚ›Ô‰Ô ÔÈ ÂÚÈÛÛfiÙÂÚÂ˜ Úfi¯ÂÈÚÂ˜ ÎÙÈÚÈ·Î¤˜ Î·Ù·ÛÎÂ˘¤˜ ÙË˜

·Ú·Ï›·˜ ·Ú·¯ÒÚËÛ·Ó ÙË ı¤ÛË ÙÔ˘˜ ÛÂ ‰ÈÒÚÔÊ· ‹ ÙÚÈÒÚÔÊ· ÎÙ›ÚÈ·.

∏ ˘ÚÎ·ÁÈ¿ ÙÔ˘ 1917 Î·Ù¤ÛÙÚÂ„Â Ù· ÂÚÈÛÛfiÙÂÚ· ·fi ·˘Ù¿. ∞fi ÙÔ

1920 Ì¤¯ÚÈ ÙÔ 1970, ÂÚ›Ô˘, Ù· ·Ú·ÏÈ·Î¿ ÔÈÎfiÂ‰· ÎÙ›ÛıËÎ·Ó

¿ÏÏÂ˜ ‰‡Ô ÊÔÚ¤˜: ΔËÓ ÚÒÙË, ÌÂ ÙÚÈÒÚÔÊ· ‹ ÙÂÙÚ·ÒÚÔÊ· ÎÙ›ÚÈ·. ΔË

‰Â‡ÙÂÚË, ÌÂ ÔÎÙ·fiÚÔÊÂ˜ ÔÈÎÔ‰ÔÌ¤˜.

√È 16 ÊˆÙÔÁÚ·Ê›Â˜ ·fi ÙË Û˘ÏÏÔÁ‹ ÙË˜ °ÂÓÈÎ‹˜ °Ú·ÌÌ·ÙÂ›·˜ ∂ÈÎÔÈ-

ÓˆÓ›·˜ - °ÂÓÈÎ‹˜ °Ú·ÌÌ·ÙÂ›·˜ ∂ÓËÌ¤ÚˆÛË˜ Ô˘ ·ÎÔÏÔ˘ıÔ‡Ó, ÂÓÙÔ›-

˙Ô˘Ó ÙÈ˜ ÌÂÙ·‚ÔÏ¤˜ ÙÔ˘ ¯ÒÚÔ˘, È‰È·›ÙÂÚ· ÛÙËÓ ÂÓ‰È·Ê¤ÚÔ˘Û· ÂÚ›Ô‰Ô

1950-1970. √È ÂÚÈÛÛfiÙÂÚÂ˜ ‹Ù·Ó ˆ˜ ÙÒÚ· ·Ó¤Î‰ÔÙÂ˜.

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‹˜ ÊˆÙÔÁÚ·Ê›·˜, Ô˘ ·ÂÈÎÔÓ›˙ÂÈ ÙËÓ ·Ï·È¿ ·Ú·-

Ï›· ·Ó¿ÌÂÛ· ÛÙÈ˜ (ÛËÌÂÚÈÓ¤˜) Ô‰Ô‡˜ ÃÚ˘ÛÔÛÙfiÌÔ˘ ™Ì‡ÚÓË˜ (‰ÂÍÈ¿)

Î·È ªËÙÚÔÔÏ›ÙÔ˘ πˆÛ‹Ê (·ÚÈÛÙÂÚ¿). √È Â›ÛËÌÂ˜ ÔÓÔÌ·Û›Â˜ ÙˆÓ

‰ÚfiÌˆÓ ·˘ÙÒÓ ÛÙËÓ ÙÔ˘ÚÎÈÎ‹ ‹Ù·Ó Ô‰fi˜ §Ô¯›· ∂ÓÙ¤Ì Î·È Ô‰fi˜

¶·Ï·ÈÔ‡ ∞ÏÔÁÔ¿˙·ÚÔ˘. ∏ ·Ú·Ï›· Â›¯Â ÙÔ fiÓÔÌ· ÙÔ˘ §Â˘ÎÔ‡ ¶‡Ú-

ÁÔ˘ (ªÂÁÈ¿˙ ∫Ô˘Ï¤). √È ¤ÏÏËÓÂ˜ ÙËÓ ÔÓfiÌ·˙·Ó ·ÏÒ˜ «ÚÔÎ˘-

Ì·›·».

∏ Ï‹„Ë ¯ÚËÛÈÌÔÔÈ‹ıËÎÂ ÛÂ ÌÂÙ·ÁÂÓ¤ÛÙÂÚË Î·ÚÙÔÛÙ¿Ï Î·È ‰ÂÓ

¤¯ÂÈ Ô˘ÛÈ·ÛÙÈÎ¤˜ ‰È·ÊÔÚ¤˜ ·fi ÁÓˆÛÙ¤˜ ÊˆÙÔÁÚ·Ê‹ÛÂÈ˜, ¯ÚÔÓÔÏÔ-

ÁËÌ¤ÓÂ˜ ÛÙËÓ ÂÚ›Ô‰Ô 1893-1902. Δ· ÂÈÎÔÓÈ˙fiÌÂÓ· ÎÙ›ÛÌ·Ù· ÙÔ˘

1870 Â›¯·Ó ·ÓÙÈÎ·Ù·ÛÙ·ıÂ› Ì¤¯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


£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏64k

§‹„Ë ·fi Ù· ·Ó·ÙÔÏÈÎ¿ ÂÚ›Ô˘ ÛÙÔ ‡„Ô˜ ÙË˜ (ÛËÌÂÚÈÓ‹˜) Ô‰Ô‡

∫·ÏÏ¿ÚË. ∞fi ÙËÓ Î·Ù·ÛÎÂ˘‹ ÙË˜ Î·È Ì¤¯ÚÈ ÙË ‰ÂÎ·ÂÙ›· ÙÔ˘ 1950,

ÛÙËÓ ÚÔÎ˘Ì·›· ¿Ú·˙·Ó Ù· ÈÛÙÈÔÊfiÚ· Ô˘ ÚÔÌ‹ıÂ˘·Ó ÙË £ÂÛÛ·-

ÏÔÓ›ÎË ÌÂ ÙÚfiÊÈÌ· ·fi ÙÈ˜ Á‡Úˆ ÂÚÈÔ¯¤˜ Î·È Ù· ÓËÛÈ¿ ÙÔ˘ μÔÚÂ›Ô˘

∞ÈÁ·›Ô˘. ∂›ÛË˜, ·fi ÙËÓ ·Ú·Ï›· ÂÚÓÔ‡ÛÂ ÙÔ ÙÚ·Ì ·fi ÙÔ 1893

Ì¤¯ÚÈ ÙÔ 1926. ΔÔ 1916 ‰›Ï· ÛÙËÓ ÙÚÔ¯ÈÔ‰ÚÔÌÈÎ‹ ÁÚ·ÌÌ‹ Ù· Û˘Ì-

Ì·¯ÈÎ¿ ÛÙÚ·ÙÂ‡Ì·Ù· ÂÁÎ·Ù¤ÛÙËÛ·Ó Î·È ÌÈ· ÛÈ‰ËÚÔ‰ÚÔÌÈÎ‹, Ô˘

Ô‰ËÁÔ‡ÛÂ ·fi ÙÔ ÏÈÌ¿ÓÈ ÛÙË ª›ÎÚ· (ÂÚ›Ô˘ 15 ¯ÈÏÈfiÌÂÙÚ·).

§ÂˆÊfiÚÔ˜ ¡›ÎË˜, 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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏66k

∞ÂÈÎÔÓ›˙ÂÙ·È ÙÔ ÍÂÓÔ‰Ô¯Â›Ô «™Ï¤ÓÙÈÙ ¶·ÏÏ¿˜». √ÈÎÔ‰ÔÌ‹ıËÎÂ ÙÔ

1908, ÛÙÔ ¯ÒÚÔ fiÔ˘ ÚÔËÁÔ˘Ì¤Óˆ˜ ‚ÚÈÛÎfiÙ·Ó Ë «Ó¤· È¯ı˘·ÁÔ-

Ú¿», Î·È Î¿ËÎÂ ÛÙËÓ ˘ÚÎ·ÁÈ¿ ÙÔ˘ 1917. ™ÙË ı¤ÛË ÙÔ˘ ·ÓÂÁ¤ÚıËÎÂ

ÙÔ 1925 ÙÔ ÍÂÓÔ‰Ô¯Â›Ô «ªÂÓÙÈÙÂÚ·Ó¤». ™‡ÌÊˆÓ· ÌÂ ‰È·Ê‹ÌÈÛË Ô˘

‰ËÌÔÛÈÂ‡ÙËÎÂ fiÙ·Ó ¿Ú¯ÈÛÂ Ó· ÏÂÈÙÔ˘ÚÁÂ›, ‰È¤ıÂÙÂ «ΔÂÛÛ·Ú¿ÎÔÓÙ·

‰ˆÌ¿ÙÈ·, ·Ó·ÁÓˆÛÙ‹ÚÈÔÓ, ÎÏÂÈ‰ÔÎ‡Ì‚·ÏÔÓ Î·È ÏÔ˘ÙÚÒÓ·… ∂›ÛË˜

Û˘ÛÛ›ÙÈÔÓ (Table d’Ote) ÌÂ Â˘ÚfiÛÈÙÔ˘˜ ÙÈÌ¿˜. Δ¤ÏÔ˜ ¤¯ÂÈ ÙÔÓ ÚÒ-

ÙÔÓ ‰È¿ ÙËÓ £ÂÛÛ·ÏÔÓ›ÎËÓ ÓÂˆÙÂÚÈÛÌfiÓ: ·›ıÔ˘Û·Ó ÂÓ Ë Û˘Ó¤Ú¯ÔÓÙ·È

·È ÔÈÎÔÁ¤ÓÂÈ·È ÚÔ˜ Â˘¯¿ÚÈÛÙÔÓ Û˘Ó·Ó·ÛÙÚÔÊ‹Ó». π‰ÈÔÎÙ‹ÙË˜ ÙË˜

ÂÈ¯Â›ÚËÛË˜ ‹Ù·Ó Ô ∫ˆÓÛÙ·ÓÙ›ÓÔ˜ ƒÒÌ··˜, Ô ÔÔ›Ô˜ ˘‹ÚÍÂ Î·È

ÂÎÌÈÛıˆÙ‹˜ ÙÔ˘ Î‹Ô˘ ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘. ¢ÈÂÙ¤ÏÂÛÂ ÚfiÂ‰ÚÔ˜

ÙˆÓ ÂÏÏËÓÈÎÒÓ Û˘ÓÙÂ¯ÓÈÒÓ (1916), ˘Ô„‹ÊÈÔ˜ ‚Ô˘ÏÂ˘Ù‹˜ (1915) Î·È

Ì¤ÏÔ˜ ÙÔ˘ ‰ËÌÔÙÈÎÔ‡ Û˘Ì‚Ô˘Ï›Ô˘ (1917-1920). ™ÙË ‰ÂÎ·ÂÙ›· ÙÔ˘

1930 ‹Ù·Ó Ï¤ÔÓ Î¿ÙÔÈÎÔ˜ ∞ıËÓÒÓ Î·È Û˘ÌÌÂÙÂ›¯Â ˆ˜ Ì¤ÙÔ¯Ô˜ ÛÂ

‚ÈÔÌË¯·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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏68k

∏ Ï·ÙÂ›· ∂ÏÂ˘ıÂÚ›·˜ –Ô˘ÛÈ·ÛÙÈÎ¿ ÙÔ ÓfiÙÈÔ ÙÌ‹Ì· ÙË˜ Ô‰Ô‡ μÂÓÈ˙¤-

ÏÔ˘ (ÙfiÙÂ Ô‰fi˜ ™·ÌÚ‹ ¶·Û¿) Î·È Ë Û˘Ì‚ÔÏ‹ ÙË˜ ÌÂ ÙËÓ ÚÔÎ˘Ì·›·-

‰È·ÓÔ›¯ÙËÎÂ ÛÙ· Ù¤ÏË ÙÔ˘ 19Ô˘ ·ÈÒÓ· Î·È ¤Ï·‚Â ÙËÓ ÔÓÔÌ·Û›· ÙË˜ ÙÔ

1908, ·fi ÙÔ Î›ÓËÌ· ÙË˜ ∂ÏÂ˘ıÂÚ›·˜ Î·È ¶ÚÔfi‰Ô˘ (ÙˆÓ ¡ÂfiÙÔ˘Ú-

ÎˆÓ). ŒÙÛÈ, Â›Ó·È Ë ÌÔÓ·‰ÈÎ‹ Ï·ÙÂ›· ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜ Ô˘ ‰È·ÙË-

ÚÂ› ÙËÓ ›‰È· ÔÓÔÌ·Û›· Â› ¤Ó· ·ÈÒÓ·.

∏ Ï‹„Ë ¤ÁÈÓÂ ÌÂÙ¿ ÙÔ ºÂ‚ÚÔ˘¿ÚÈÔ ÙÔ˘ 1916 (ÔfiÙÂ ÙÔÔıÂÙ‹ıËÎÂ Ë

ÛÈ‰ËÚÔ‰ÚÔÌÈÎ‹ ÁÚ·ÌÌ‹ Ô˘ Û˘ÓÂ¯›˙ÂÈ ÛÙÔ ÏÈÌ¿ÓÈ Î·È Â›Ó·È ‰È·ÊÔÚÂ-

ÙÈÎ‹ ·fi ÙËÓ ÙÚÔ¯ÈÔ‰ÚÔÌÈÎ‹ Ô˘ ·ÓËÊÔÚ›˙ÂÈ ÙËÓ Ô‰fi μÂÓÈ˙¤ÏÔ˘),

·ÏÏ¿ ÔˆÛ‰‹ÔÙÂ fi¯È ÚÈÓ ·fi ÙÔÓ ∞‡ÁÔ˘ÛÙÔ ÙÔ˘ 1917, ÔfiÙÂ Î·È

Ù· ÂÚÈÛÛfiÙÂÚ· ÂÈÎÔÓÈ˙fiÌÂÓ· ÎÙ›ÚÈ· Î·Ù·ÛÙÚ¿ÊËÎ·Ó ·fi ÙËÓ ˘Ú-

Î·ÁÈ¿.

√È ÂÓ‰˘Ì·Û›Â˜ ÙˆÓ ·ÂÈÎÔÓÈ˙fiÌÂÓˆÓ ‰Â›¯ÓÔ˘Ó fiÙÈ Ë Ï‹„Ë ¤ÁÈÓÂ ¯ÂÈ-

ÌÒÓ·. ÕÏÏˆÛÙÂ, Ë Ì¤Ú· Ú¤ÂÈ Ó· ‹Ù·Ó „˘¯Ú‹, ‰È·ÊÔÚÂÙÈÎ¿ Ë Ï·-

ÙÂ›· ı· ‹Ù·Ó ÁÂÌ¿ÙË ÙÚ·Â˙¿ÎÈ· ·fi Ù· ·Ú·ÎÂ›ÌÂÓ· ˙·¯·ÚÔÏ·-

ÛÙÂ›· (fiˆ˜ ÛÂ ÔÏÏ¤˜ ¿ÏÏÂ˜ ÊˆÙÔÁÚ·Ê›Â˜).

¶Ï·ÙÂ›· ∂ÏÂ˘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

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ΔÔ ÚÒÙÔ ÛÔ‚·Úfi ·ÓıÂ‚Ú·˚Îfi Ì¤ÙÚÔ Â› ∫·ÙÔ¯‹˜ ÛËÌÂÈÒıËÎÂ ÛÙËÓ

Ï·ÙÂ›· ∂ÏÂ˘ıÂÚ›·˜ ÙÔ ™¿‚‚·ÙÔ 11.7.1942, fiÙ·Ó ÔÈ Ó·˙ÈÛÙÈÎ¤˜ ·Ú¯¤˜

Î¿ÏÂÛ·Ó 9.000 ¿ÚÚÂÓÂ˜ ∂‚Ú·›Ô˘˜ ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜, ËÏÈÎ›·˜ 18-

45 ÂÙÒÓ, ÁÈ· Ó· ÙÔ˘˜ Î·Ù·ÁÚ¿„Ô˘Ó, ÚÔÎÂÈÌ¤ÓÔ˘ Ó· ÙÔ˘˜ ÂÈÛÙÚ·-

ÙÂ‡ÛÔ˘Ó ÁÈ· Î·Ù·Ó·ÁÎ·ÛÙÈÎ‹ ÂÚÁ·Û›· ÛÂ Ï·ÙÔÌÂ›· Î·È ¿ÏÏ· ÂÚÁÔÙ¿-

ÍÈ· ÂÎÙfi˜ £ÂÛÛ·ÏÔÓ›ÎË˜. ŸÛÔÈ ÚÔÛ‹Ïı·Ó ˘Ô¯ÚÂÒıËÎ·Ó Ó· ·Ú·-

ÌÂ›ÓÔ˘Ó Ì¤¯ÚÈ ÙÈ˜ ‰‡Ô ÙÔ ÌÂÛËÌ¤ÚÈ ¯ˆÚ›˜ Î·¤ÏÔ, Î¿Ùˆ ·fi ÙÔÓ

Î·ÏÔÎ·ÈÚÈÓfi ‹ÏÈÔ, ÂÓÒ ÔÏÏÔ› ¯Ù˘‹ıËÎ·Ó ·ÓËÏÂÒ˜ ‹ ˘Ô¯ÚÂÒıË-

Î·Ó ÛÂ ÂÍÂ˘ÙÂÏÈÛÙÈÎ¤˜ ÎÈÓ‹ÛÂÈ˜.

√ ÂÍÂ˘ÙÂÏÈÛÌfi˜ ÂÏÏ‹ÓˆÓ ÔÏÈÙÒÓ (1)

11 πÔ˘Ï›Ô˘ 1942. °ÂÚÌ·ÓÈÎ¤˜ ·Ú¯¤˜ ¤¯Ô˘Ó Û˘ÁÎÂÓÙÚÒÛÂÈ ÙÔ˘˜ ¿ÚÚÂÓÂ˜ ∂‚Ú·›Ô˘˜ ÙË˜ fiÏË˜ ÁÈ· Ó· ÙÔ˘˜ Î·Ù·ÁÚ¿„Ô˘Ó. ΔÔ˘˜ ÎÙ˘Ô‡Ó Î·È ÙÔ˘˜ ˘Ô‚¿ÏÔ˘Ó ÛÂ ÂÍÂ˘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

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∏ ÛÎÏËÚfiÙËÙ· ÙË˜ ÌÂÙ·¯Â›ÚÈÛË˜ ‹Ù·Ó ÚÔÌÂÏÂÙËÌ¤ÓË. ∂·ÎÔÏÔ‡ıË-

ÛÂ ·ÎfiÌË ÛÎÏËÚfiÙÂÚË ÌÂÙ·¯Â›ÚÈÛË ÛÙ· ÂÚÁÔÙ¿ÍÈ·, ÌÂÙ¿ ÙËÓ ÂÈÛÙÚ¿-

ÙÂ˘ÛË πÛÚ·ËÏÈÙÒÓ ·Î·Ù¿ÏÏËÏˆÓ ÁÈ· ‚·ÚÈ¿ ÛˆÌ·ÙÈÎ‹ ÂÚÁ·Û›·, Ô˘

Ô‰‹ÁËÛÂ ÛÂ ·ıÚfiÔ˘˜ ı·Ó¿ÙÔ˘˜ ÙˆÓ ÂÈÛÙÚ·ÙÂ˘Ì¤ÓˆÓ. ŒÙÛÈ, Ë

πÛÚ·ËÏÈÙÈÎ‹ ∫ÔÈÓfiÙËÙ· ˘Ô¯ÚÂÒıËÎÂ Ó· ÂÍ·ÁÔÚ¿ÛÂÈ ÙËÓ Î·Ù·Ó·ÁÎ·-

ÛÙÈÎ‹ ÂÚÁ·Û›· ·ÓÙ› ÌÂÁ¿ÏÔ˘ ÔÛÔ‡, Ô˘ Î·Ù¤‚·ÏÂ ÛÙË Ó·˙ÈÛÙÈÎ‹

‰ÈÔ›ÎËÛË. ∏ Â›ÛÚ·ÍË ·˘ÙÒÓ ÙˆÓ Ï‡ÙÚˆÓ ¤ÁÈÓÂ ÌÂ Î¿ıÂ ÂÈÛËÌfiÙË-

Ù·: ÌÂ Û˘Ì‚¿ÛÂÈ˜, ¯·ÚÙfiÛËÌ· Î·È ÙÚ·Â˙ÈÎ¤˜ ÂÈÙ·Á¤˜.

√ ÂÍÂ˘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]

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¶¤Ú· ·fi Ù· ‰ÂÈÓ¿ Ô˘ ˘¤ÛÙËÛ·Ó fiÏÂ˜ ÔÈ ¿ÏÏÂ˜ ÂÏÏËÓÈÎ¤˜ fiÏÂÈ˜,

Ë ∫·ÙÔ¯‹ ·ÔÛÙ¤ÚËÛÂ ÙË £ÂÛÛ·ÏÔÓ›ÎË ·fi ÙÔ ¤Ó· ¤ÌÙÔ ÙˆÓ

Î·ÙÔ›ÎˆÓ ÙË˜, ‰ËÏ·‰‹ ÙÔ Û‡ÓÔÏÔ Û¯Â‰fiÓ ÙÔ˘ Â‚Ú·˚ÎÔ‡ ÏËı˘ÛÌÔ‡

ÙË˜. ∂› Ï¤ÔÓ Ë fiÏË ·ÔÙ¤ÏÂÛÂ ¤‰Ú· ÙË˜ ÁÂÚÌ·ÓÈÎ‹˜ ∞ÓÒÙ·ÙË˜

¢ÈÔ›ÎËÛË˜ μÔÚÂ›Ô˘ ∞ÈÁ·›Ô˘. ∏ ∫ÂÓÙÚÈÎ‹ ª·ÎÂ‰ÔÓ›· ÌÂÙ·ÙÚ¿ËÎÂ ·fi

ÙÔ 1943 ÛÂ Â·Ú¯›· ÙÔ˘ ƒ¿È¯. μ›ˆÓÂ ÙË ÌfiÓÈÌË ·ÂÈÏ‹ ÙˆÓ ÁÂÚÌ·-

ÓÈÎÒÓ ·Ú¯ÒÓ fiÙÈ ı· ÙËÓ ·Ú¤‰È‰·Ó ÛÙË μÔ˘ÏÁ·Ú›·, fiˆ˜ Â›¯Â ‹‰Ë

Û˘Ì‚Â› ÌÂ ÙËÓ ∞Ó·ÙÔÏÈÎ‹ ª·ÎÂ‰ÔÓ›·.

Δ·ÓÎ˜ ÙË˜ μ¤ÚÌ·¯Ù ÛÙËÓ ·Ú·Ï›·

9 ∞ÚÈÏ›Ô˘ 1941. ΔÂıˆÚ·ÎÈÛÌ¤Ó· ÙË˜ ÛÙÚ·ÙÈ¿˜ ÙÔ˘ §ÈÛÙ ¤¯Ô˘Ó ÂÈÛ¤ÏıÂÈ ÛÙË £ÂÛÛ·ÏÔÓ›ÎË Î·È Î·ÙÂ˘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

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∏ Ï‹„Ë ¤ÁÈÓÂ ·fi ÛÎ¿ÊÔ˜, ÛÙÔ Ù¤ÏÔ˜ ÙË˜ ∫·ÙÔ¯‹˜ ‹ Ï›ÁÔ ·ÚÁfiÙÂÚ·.

√ §Â˘Îfi˜ ¶‡ÚÁÔ˜ ‰ÂÓ Ê·›ÓÂÙ·È Ó· ¤¯ÂÈ ··ÏÏ·ÁÂ› ·fi ÙÔ ¯ÚˆÌ·ÙÈ-

Îfi Î·ÌÔ˘ÊÏ¿˙ Ô˘ ÙÔÓ ÂÚÈ¤‚·ÏÂ ÏfiÁˆ ÙˆÓ ‚ÔÌ‚·Ú‰ÈÛÌÒÓ. ªfiÓÔÓ

Ë ·ÚÔ˘Û›· ÏÔ›ˆÓ ÌÂÁ·Ï‡ÙÂÚˆÓ ·fi ÂÎÂ›Ó· Ô˘ ÂÌÊ·Ó›˙ÔÓÙ·È ÛÙÈ˜

Î·ÙÔ¯ÈÎ¤˜ ÊˆÙÔÁÚ·Ê›Â˜ ‰Â›¯ÓÂÈ fiÙÈ Ë Ï‹„Ë ¤ÁÈÓÂ ÌÂÙ¿ ÙÔ 1944. ™ÙÔ

¿ÎÚÔ ·ÚÈÛÙÂÚ¿, ‰È·ÎÚ›ÓÂÙ·È Ô ¯ÒÚÔ˜ Ô˘ ÏÂÈÙÔ‡ÚÁËÛÂ (ÙÔ˘Ï¿¯ÈÛÙÔÓ

·fi ÙÔ 1947) Ô ıÂÚÈÓfi˜ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˜ «∑¤Ê˘ÚÔ˜», ÛÙËÓ Ï·ÙÂ›·

∞ÚÈÛÙÔÙ¤ÏÔ˘˜. ∞ÎÔÏÔ˘ıÂ› ÙÔ Ì¤Á·ÚÔ ∫ÔÓÈfiÚ‰Ô˘ (·ÓÂÁ¤ÚıËÎÂ ÙÔ

1934). ΔËÓ ›‰È· ÂÚ›Ô˘ ÂÔ¯‹ ÎÙ›ÛıËÎÂ Î·È ÙÔ ÂfiÌÂÓÔ «˘„ËÏfi ÎÙ›-

ÚÈÔ», ÛÙË ÁˆÓ›· ÌÂ ÙËÓ Ô‰fi ∫. ¡ÙËÏ, fiÔ˘ ·ÚÁfiÙÂÚ· ÏÂÈÙÔ‡ÚÁËÛÂ ÙÔ

ÂÛÙÈ·ÙfiÚÈÔ «™ÙÚ·Ù‹˜» (Î·ÙÂ‰·Ê›ÛÙËÎÂ ÙÔ 2005). ™ÙË Û˘Ó¤¯ÂÈ·, ÛÙË

Û˘Ì‚ÔÏ‹ ÌÂ ÙËÓ Ô‰fi ∞Á›·˜ ™ÔÊ›·˜ ‰È·ÎÚ›ÓÂÙ·È ÙÔ ‰ÈÒÚÔÊÔ ÍÂÓÔ‰Ô-

¯Â›Ô «ª·˙¤ÛÙÈÎ» (·ÓÂÁ¤ÚıËÎÂ ÙÔ 1924 Î·È ÛÙËÓ ∫·ÙÔ¯‹ ÂÈÙ¿¯ıËÎÂ

·fi ÁÂÚÌ·ÓÈÎ¤˜ ˘ËÚÂÛ›Â˜) Î·È ÙÔ ÔÏ˘ÒÚÔÊÔ ÎÙ›ÚÈÔ «Δ˘ÚÔÏfiË».

∏ ·Ú·Ï›· ·fi ÙËÓ Ï·ÙÂ›· ∞ÚÈÛÙÔÙ¤ÏÔ˘˜ ˆ˜ ÙÔ §Â˘Îfi¶‡ÚÁÔ, ‰ÂÎ·ÂÙ›· 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 ¤ÁÈÓÂ ·fi Î·˝ÎÈ, ·Ú·ÁÌ¤ÓÔ ÌÚÔÛÙ¿ ÛÙËÓ Ï·ÙÂ›· ∞ÚÈÛÙÔÙ¤-

ÏÔ˘˜. ™ÙÔ ·ÚÈÛÙÂÚfi ÙÌ‹Ì· ÙË˜ ÊˆÙÔÁÚ·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˘ıÂ›

¤¯ÂÈ ·ÓÂÁÂÚıÂ› (Ú‚Ï. ÙËÓ ÚÔËÁÔ‡ÌÂÓË ÊˆÙÔÁÚ·Ê›·) Ó¤Ô ÎÙ›ÚÈÔ. √

§Â˘Îfi˜ ¶‡ÚÁÔ˜ Ê¤ÚÂÈ ÂÌÊ·Ó‹ Î·Ù¿ÏÔÈ· ·fi ÙÔ Î·ÙÔ¯ÈÎfi Î·ÌÔ˘-

ÊÏ¿˙ ÙÔ˘, ÂÓÒ ÛÙÔ ¿ÎÚÔ ‰ÂÍÈ¿ (·Ó·ÙÔÏÈÎÒ˜ ÙÔ˘ ¶‡ÚÁÔ˘) ‰È·ÎÚ›ÓÔ-

ÓÙ·È ÔÈ ÙÚÂÈ˜ Î·ÌÈÓ¿‰Â˜ Î·È ÙÔ ÎÙ›ÚÈÔ ÙË˜ ËÏÂÎÙÚÈÎ‹˜ ÂÙ·ÈÚÂ›·˜.

∏ ·Ú·Ï›· ·fi ÙËÓ Ï·ÙÂ›· ∞ÚÈÛÙÔÙ¤ÏÔ˘˜ ˆ˜ ÙËÓ ·Ï·È¿ ∏ÏÂÎÙÚÈÎ‹ ∂Ù·ÈÚÂ›·, ·Ú¯¤˜ ‰ÂÎ·ÂÙ›·˜ 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

Without Title

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∏ Ï‹„Ë ¤ÁÈÓÂ ·fi ÙÔ ·Ú·ı·Ï¿ÛÛÈÔ Â˙Ô‰ÚfiÌÈÔ. ∞ÚÈÛÙÂÚ¿ ·fi ÙÔ

ÍÂÓÔ‰Ô¯Â›Ô «ª·˙¤ÛÙÈÎ» ¤¯ÂÈ ÚÔÛÙÂıÂ› ¤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· ·˘ÙÔÎ›ÓËÙ· Â›Ó·È ·ÎfiÌË Û·ÓÈfiÙ·Ù·.

¢ÂÍÈ¿, Ù· ÏÔÈ¿ÚÈ· Ô˘ ÂÎÙÂÏÔ‡Û·Ó ÙË Û˘ÁÎÔÈÓˆÓ›· ÌÂ Ù· ¯ˆÚÈ¿ ÙÔ˘

£ÂÚÌ·˚ÎÔ‡ (¶ÂÚ·›·, ¡¤ÔÈ ∂È‚¿ÙÂ˜, ∞Á›· ΔÚÈ¿‰·), fiÔ˘ ·Ú·ı¤ÚÈ˙·Ó

ÔÈ £ÂÛÛ·ÏÔÓÈÎÂ›˜.

∏ ·Ú·Ï›· ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜,Ù¤ÏË ‰ÂÎ·ÂÙ›·˜ 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

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∞fi ÙËÓ ÚÔËÁÔ‡ÌÂÓË Ï‹„Ë ¤¯Ô˘Ó ÂÚ¿ÛÂÈ ÌÂÚÈÎ¿ ¯ÚfiÓÈ·. ∏ ÊˆÙÔ-

ÁÚ·Ê›· Î·Ï‡ÙÂÈ ÙÔ ÙÌ‹Ì· ÙË˜ 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˘ Î·Ï‡ÙÂÈ Ô ÛÙ‡ÏÔ˜) Â›Ó·È Ë Ô‰fi˜ ÃÚ˘ÛÔÛÙfi-

ÌÔ˘ ™Ì‡ÚÓË˜, fiÔ˘ ÛÙÂÁ·˙fiÙ·Ó (Ì¤¯ÚÈ ÚÈÓ ·fi Ï›Á· ¯ÚfiÓÈ·) ÙÔ

ÚÔÍÂÓÂ›Ô ÙˆÓ ∏¶∞. ™ÙËÓ ÂfiÌÂÓË ÁˆÓ›· ·fi ÙÔ ÚÔÍÂÓÂ›Ô –Ô‰fi˜

ªÔÚÁÎÂÓÙ¿Ô˘- ¤¯ÂÈ ·ÓÂÁÂÚıÂ› Ë ÚÒÙË ÔÏ˘ÒÚÔÊË ÔÈÎÔ‰ÔÌ‹ Ô˘

Û˘Ó·ÓÙ‹Û·ÌÂ ÛÙÈ˜ Ì¤¯ÚÈ ÙÒÚ· ·ÂÈÎÔÓ›ÛÂÈ˜ ÙË˜ ·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›· ÙË˜ Ô‰Ô‡ ∫·ÏÏ¿ÚË.

∞˘ÙÔÎ›ÓËÙ· ÂÍ·ÎÔÏÔ˘ıÔ‡Ó Ó· ÂÌÊ·Ó›˙ÔÓÙ·È ÂÏ¿¯ÈÛÙ·. ∏ ËÌ¤Ú· Â›Ó·È

ËÏÈfiÏÔ˘ÛÙË Î·È ¤Ó· ÌÈÎÚfi ÛÎ¿ÊÔ˜ ÂÚÈÌ¤ÓÂÈ ÂÈ‚¿ÙÂ˜ ÁÈ· ÙÔ Á‡ÚÔ

ÙÔ˘ ÎfiÏÔ˘ ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜.

∏ ·Ú·Ï›· ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜,·Ú¯¤˜ ‰ÂÎ·ÂÙ›·˜ 1960

1.3.1963.ΔÌ‹Ì· ·Ú·ÏÈ·Î‹˜ Ô‰Ô‡ ÙË˜ ÂÏÏËÓÈÎ‹˜ Û˘ÌÚˆÙÂ˘Ô‡ÛË˜ ÌÂ ÙÔÓ §Â˘ÎfiÓ ¶‡ÚÁÔÓ ÂÈ˜ 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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏84k

∞fi ÙËÓ ÔÓÔÌ·Û›· ÙÔ˘ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˘ ‰È·ÎÚ›ÓÔÓÙ·È Ù· ‰‡Ô ÚÒÙ·

ÁÚ¿ÌÌ·Ù·. ªÂÙÔÓÔÌ¿ÛÙËÎÂ ÛÂ «∫ÂÓÙÚÈÎfiÓ» ÛÙË Û·È˙fiÓ 1954-1955.

™˘ÓÂÒ˜, Ë Ï‹„Ë ¤ÁÈÓÂ ÚÈÓ ·fi ÙÔ ™ÂÙ¤Ì‚ÚÈÔ ÙÔ˘ 1954. ∞ÚÈÛÙÂÚ¿

·fi ÙÔÓ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ ‰È·ÎÚ›ÓÂÙ·È ÙÔ ·ÌÂÚÈÎ·ÓÈÎfi ÚÔÍÂÓÂ›Ô (ÌÂ ÙË

ÛËÌ·›·), ÛÙË ÁˆÓ›· ÌÂ ÙËÓ Ô‰fi ÃÚ˘ÛÔÛÙfiÌÔ˘ ™Ì‡ÚÓË˜. ™ÙË Ì¤ÛË ÙÔ˘

‰ÚfiÌÔ˘, ¤Ó· ·È‰› Î¿ÓÂÈ ·Ù›ÓÈ. °Ú¿ÊÂÈ £ÂÛÛ·ÏÔÓÈÎ¤·˜ Ô˘ ¤˙ËÛÂ

ÛÙËÓ ÂÚÈÔ¯‹ ˆ˜ ·È‰› ·ÎÚÈ‚Ò˜ ÂÎÂ›ÓË ÙËÓ ÂÔ¯‹: «ΔÔ ÙÈ ıfiÚ˘‚Ô

¤Î·Ó·Ó Ù· ·Ù›ÓÈ· ¿Óˆ ÛÙÈ˜ ÌÈÎÚ¤˜ ÙÂÙÚ¿ÁˆÓÂ˜ Ï·Î›ÙÛÂ˜ ÙÔ˘

Â˙Ô‰ÚÔÌ›Ô˘, ‰ÂÓ Ï¤ÁÂÙ·È. (…) Δ· ÌÂÁ·Ï‡ÙÂÚ· ·È‰È¿ ¤Î·Ó·Ó ÙÈ˜

‚fiÏÙÂ˜ ÌÂ ÙÔ ·Ù›ÓÈ ÙÔ˘˜ ÛÙÔÓ ‰ÚfiÌÔ ÙË˜ ·Ú·Ï›·˜ ‹ ÛÙÔÓ ·Ú·ÏÈ·-

Îfi Â˙fi‰ÚÔÌÔ Ô˘ ‰ÂÓ Â›¯Â Ï¿ÎÂ˜. ŸÌˆ˜ ÂÂÈ‰‹ ÔÏÏÔ› ÁÂ›ÙÔÓÂ˜

‰È·Ì·ÚÙ˘Ú‹ıËÎ·Ó ÁÈ· ÙÔ ıfiÚ˘‚Ô, ¿Ú¯ÈÛ·Ó ÔÈ ¯ˆÚÔÊ‡Ï·ÎÂ˜ Ó·

Î˘ÓËÁÔ‡Ó (…) ÙÈ˜ Ì¿ÏÂ˜ Î·È Ù· ·Ù›ÓÈ·» (¢. ∫·Ú·Ì‹ÙÛÔ˜).

¶·Ú·Ï›· £ÂÛÛ·ÏÔÓ›ÎË˜, ·fi ÙËÓ Ô‰fi ªËÙÚÔÔÏ›ÙÔ˘πˆÛ‹Ê Ì¤¯ÚÈ ÙÔÓ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ«∂ıÓÈÎfiÓ», ·Ú¯¤˜ ‰ÂÎ·ÂÙ›·˜ 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

Without Title

¶ ∞ ƒ ∞ § π ∞32

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏86k

√ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˜ ÔÓÔÌ¿˙ÂÙ·È Î·È ¿ÏÈ «∂ıÓÈÎfiÓ», ÂÓÒ ‰ÂÓ ‰È·ÎÚ›-

ÓÂÙ·È Î¿ÔÈ· Ô˘ÛÈ·ÛÙÈÎ‹ ‰È·ÊÔÚ¿ ·fi ÙËÓ ÚÔËÁÔ‡ÌÂÓË Ï‹„Ë.

∂ÓÙ˘ˆÛÈ¿˙ÂÈ ÙÔ Ï‹ıÔ˜ Ô˘ ¤ÛÂ˘ÛÂ Ó· ·Ú·ÎÔÏÔ˘ı‹ÛÂÈ ÙË ÛÙÚ·-

ÙÈˆÙÈÎ‹ ·Ú¤Ï·ÛË, È‰È·›ÙÂÚ· ÂÏÎ˘ÛÙÈÎfi ı¤·Ì· ÛÙËÓ ÚÔÙËÏÂÔÙÈÎ‹

ÂÔ¯‹.

¶·Ú¤Ï·ÛË ÛÙËÓ ·Ú·Ï›·, ·Ú¯¤˜ ‰ÂÎ·ÂÙ›·˜ 1950

∞fi ÙÔÓ ÂÔÚÙ·ÛÌfiÓ ÙË˜ ÂıÓÈÎ‹˜ ÂÂÙÂ›Ô˘ ÙË˜ 25Ë˜ ª·ÚÙ›Ô˘ ÂÈ˜ £ÂÛÛ·ÏÔÓ›ÎËÓ. ∂È˜ ÙËÓ ÊˆÙÔÁÚ·Ê›·Ó, ·Ú¤Ï·ÛÈ˜ ·ÓÙÈ·ÂÚÔÔÚÈÎÔ‡ ˘ÚÔ‚ÔÏÈÎÔ‡ ‰È· ÙË˜ ·Ú·ÏÈ·Î‹˜ ÏÂˆÊfiÚÔ˘

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

¶ ∞ ƒ ∞ § π ∞33

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏88k

ΔÔ ÙÌ‹Ì· ÙË˜ ·Ú·Ï›·˜ ÚÔ˜ ÙÔ §Â˘Îfi ¶‡ÚÁÔ ‰ÂÓ Î·Ù·ÛÙÚ¿ÊËÎÂ

ÛÙËÓ ˘ÚÎ·ÁÈ¿ ÙÔ˘ 1917. Δ· ‰‡Ô ÚÒÙ· ÎÙ›ÚÈ· ÛÙ· ‰ÂÍÈ¿ (ÙÔ ÁˆÓÈ·-

Îfi Â›Ó·È ÙÔ ÂÛÙÈ·ÙfiÚÈÔ «∂ÚÌÂ›ÔÓ») ‰È·ÎÚ›ÓÔÓÙ·È Î·È ÛÂ Ï‹„ÂÈ˜ ÙˆÓ

·Ú¯ÒÓ ÙÔ˘ ÂÈÎÔÛÙÔ‡ ·ÈÒÓ·. Δ· ÂfiÌÂÓ· ‰‡Ô ¯·ÌËÏfiÙÂÚ· ÎÙ›ÚÈ·

˘‹Ú¯·Ó ÛÙ· Ù¤ÏË ÙÔ˘ ‰¤Î·ÙÔ˘ ¤Ó·ÙÔ˘. ªÂÛÔÏ·‚Â› Ë Ô‰fi˜ ¢ËÌËÙÚ›-

Ô˘ °Ô‡Ó·ÚË (Ô˘ ‰ÂÓ Â›¯Â ·ÎfiÌË ‰È·ÓÔÈÁÂ› Ï‹Úˆ˜). ΔÔ ¤ÌÙÔ (Î·È

˘„ËÏfiÙÂÚÔ) ÎÙ›ÚÈÔ ·fi ‰ÂÍÈ¿ ‹Ù·Ó ÙÔ ÍÂÓÔ‰Ô¯Â›Ô ª·ÛÙ·˙›ÓË Î·È

˘‹Ú¯Â Î·Ù¿ 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 ÛÂ Ï‹„ÂÈ˜ ÙÔ˘

1915. Δ¤ÏÔ˜, ÙÔ ÂfiÌÂÓÔ (ÁˆÓÈ·Îfi) ÎÙ›ÚÈÔ Â›Ó·È ÙÔ Ì¤Á·ÚÔ ºÚ·ÓÛ¤˙,

(ÌÂ ÙÔ Î·ÊÂÓÂ›Ô ¶ÙÈ ¶·Ï·› ÛÙÔ ÈÛfiÁÂÈÔ, ÛÙË ÁˆÓ›· ÌÂ ÙËÓ Ô‰fi ™ÙÚ·-

ÙËÁÔ‡ ∫·ÏÏ¿ÚË). ∞fi Ù· ÛÙÔÈ¯Â›· ·˘Ù¿, ÙÔÓ Ù‡Ô ÙˆÓ ÛÙ‡ÏˆÓ ÙÔ˘

‰ËÌÔÙÈÎÔ‡ ÊˆÙÈÛÌÔ‡, ÙË Û˘Ó¤¯ÈÛË ÙË˜ ·Ì·ÍÈÙ‹˜ Ô‰Ô‡ (·ÓÙ› Â˙Ô-

‰ÚÔÌ›Ô˘) ÚÔ˜ ÙÔ ÙÌ‹Ì· ÙË˜ ·Ú·Ï›·˜ ÌÚÔÛÙ¿ ÛÙÔ §Â˘Îfi ¶‡ÚÁÔ,

ÙËÓ ÏËıÒÚ· ÙˆÓ ÈÛÙÈÔÊfiÚˆÓ, ÚÔÎ‡ÙÂÈ fiÙÈ Ë Ï‹„Ë ‰ÂÓ Ú¤ÂÈ Ó·

¤ÁÈÓÂ ÔÏ‡ ÌÂÙ¿ ÙÔ 1950. ª¤Ú· ÂÔÚÙ¿ÛÈÌË, ÔˆÛ‰‹ÔÙÂ, ·Ó ÎÚ›ÓÂÈ

Î·ÓÂ›˜ ·fi ÙÔ ÛËÌ·ÈÔÛÙÔÏÈÛÌfi ·fi ÙËÓ ÔÌ‹ Ô˘ Ê·›ÓÂÙ·È Ó·

¤Ú¯ÂÙ·È ·fi Ì·ÎÚÈ¿.

∏ ·Ú·Ï›· ÊˆÙÔÁÚ·ÊËÌ¤ÓË ·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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏90k

™Ù· ¯ÚfiÓÈ· Ô˘ ÌÂÛÔÏ¿‚ËÛ·Ó ·Ó¿ÌÂÛ· ÛÂ ·˘Ù‹Ó Î·È ÙËÓ ÚÔËÁÔ‡-

ÌÂÓË Ï‹„Ë (·fi ÙÔ ›‰ÈÔ ÛËÌÂ›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 ÎÙÈÛÙÂ›

ÌÈ· ÔÏ˘ÒÚÔÊË ÔÈÎÔ‰ÔÌ‹, ÌÈ· ¿ÏÏË ·ÓÂÁÂ›ÚÂÙ·È (ÁˆÓ›· ÌÂ ÙËÓ Ô‰fi

™ÙÚ·ÙËÁÔ‡ ∫·ÏÏ¿ÚË), ÂÓÒ Î·ÙÂ‰·Ê›˙ÂÙ·È ÙÔ ·Ï·Èfi «∂ÚÌÂ›ÔÓ». ∞fi

ÙËÓ ÚÔÎ˘Ì·›· ÏÂ›Ô˘Ó Ï¤ÔÓ Ù· ÈÛÙÈÔÊfiÚ·. ∏ ‰È·‰ÚÔÌ‹ ÙË˜ ·Ú¤-

Ï·ÛË˜ ·fi ÙËÓ ·Ú·Ï›· Â›Ó·È ÌÈ· ·fi ÙÈ˜ ÔÏÏ¤˜ Ô˘ ‰ÔÎÈÌ¿ÛÙËÎ·Ó

ÛÙË £ÂÛÛ·ÏÔÓ›ÎË, ·ÏÏ¿˙ÔÓÙ·˜ Ì·˙› ÌÂ ÙËÓ fiÏË.

∏ ·Ú·Ï›· ÊˆÙÔÁÚ·ÊËÌ¤ÓË ·fi ÙËÓ ÎÔÚ˘Ê‹ ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘, 1960

29.10.1960. ™ÙÈÁÌÈfiÙ˘ÔÓ ·fi ÙËÓ ·Ú¤Ï·ÛÈÓÙË˜ Ì·ıËÙÈÒÛË˜ ÓÂÔÏ·›·˜ ÂÈ˜ £ÂÛÛ·ÏÔÓ›ÎËÓÂ› ÙË ÂÂÙÂ›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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏92k

∫·Ù¿ ÙË ‰ÂÎ·ÂÙ›· Ô˘ ÌÂÛÔÏ¿‚ËÛÂ ·fi ÙËÓ ÚÔËÁÔ‡ÌÂÓË ÊˆÙÔÁÚ·-

Ê›·, Î·È ÌÂ ÂÍ·›ÚÂÛË ÙÔ Ì¤Á·ÚÔ ºÚ·ÓÛ¤˙ ÛÙË ÁˆÓ›· ÌÂ ÙËÓ Ô‰fi ∫·Ï-

Ï¿ÚË (Ô˘ ·ÎÔÏÔ‡ıËÛÂ ÙËÓ ÎÔÈÓ‹ ÌÔ›Ú· ÌÂÚÈÎ¿ ¯ÚfiÓÈ· ·ÚÁfiÙÂÚ·),

fiÏ· Ù· ¿ÏÏ· ÎÙ›ÛÌ·Ù· ¤¯Ô˘Ó ·Ú·¯ˆÚ‹ÛÂÈ ÙÈ˜ ı¤ÛÂÈ˜ ÙÔ˘˜ ÛÂ

ÔÏ˘ÒÚÔÊÂ˜ ÔÈÎÔ‰ÔÌ¤˜. ∏ ·Ó·ÙÚÔ‹ ÙË˜ ÎÏ›Ì·Î·˜ ÙË˜ ·Ú·ÏÈ·Î‹˜

ÏÂˆÊfiÚÔ˘ ¤¯ÂÈ ÔÏÔÎÏËÚˆıÂ›. ∏ Î˘ÎÏÔÊÔÚ›· ÙˆÓ ·˘ÙÔÎÈÓ‹ÙˆÓ Â›Ó·È

ÂÚÈÔÚÈÛÌ¤ÓË ·ÎfiÌË, ·ÏÏ¿ Ë ·ÚÔ˘Û›· ÙÔ˘˜ ¤ÓÙÔÓË.

∏ ·Ú·Ï›· ÊˆÙÔÁÚ·ÊËÌ¤ÓË ·fi ÙËÓ ÎÔÚ˘Ê‹ ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘, ·Ú¯¤˜ ‰ÂÎ·ÂÙ›·˜ 1970

ÕÔ„È˜ £ÂÛÛ·ÏÔÓ›ÎË˜

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

kkk

§ ∂ À ∫ √ ™ ¶ À ƒ ° √ ™Δ H E W H I T E T O W E R

√ Î˘ÎÏÈÎfi˜ «§Â˘Îfi˜ ¶‡ÚÁÔ˜» ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜ ¤¯ÂÈ ÙÔ ›‰ÈÔ Û¯‹Ì·

Î·È ·Ú·Ï‹ÛÈÂ˜ ·Ó·ÏÔÁ›Â˜ ÌÂ ÙÔÓ «ª·‡ÚÔ ¶‡ÚÁÔ» , ÁÓˆÛÙfi ¤ÚÁÔ ÙÔ˘

·Ú¯ÈÙ¤ÎÙÔÓ· ™ÈÓ¿Ó, Ô ÔÔ›Ô˜ ˘„ÒÓÂÙ·È ÛÙÔ «∫¿ÛÙÚÔ ÙË˜ ƒÔ‡ÌÂÏË˜»,

ÛÙËÓ ∫ˆÓÛÙ·ÓÙÈÓÔ‡ÔÏË. ∞ÓÙ›ıÂÙ·, fiÌˆ˜ 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 ‰ÂÎ·ÂÙ›· ¯ÚËÛÈÌÔÔÈÔ‡Ù·Ó ˆ˜ Ê˘Ï·Î‹ ÌÂ ÂÎ·ÙÔÓÙ¿‰Â˜ ÎÚ·ÙÔ‡-

ÌÂÓÔ˘˜. ™ÙÈ˜ ÚÒÙÂ˜ Â·ÁÁÂÏÌ·ÙÈÎ¤˜ ÊˆÙÔÁÚ·Ê‹ÛÂÈ˜ ÙË˜ £ÂÛÛ·ÏÔÓ›-

ÎË˜ -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-

ÓÔÌÈ·Î‹ ÌÂÙ·¯Â›ÚÈÛË Î·È ÊˆÙÔÁÚ·Ê›˙ÂÙ·È ÌfiÓÔÓ Û˘ÌÙˆÌ·ÙÈÎ¿. ∞ÏÏ¿

ÛÙÈ˜ ÚÔ‰ÚÔÌÈÎ¤˜ ¯ÚˆÌÔÏÈıÔÁÚ·ÊÈÎ¤˜ Î·ÚÙÔÛÙ¿Ï Ô˘ ÂÎÙ˘ÒÓÔÓÙ·È

ÛÙË °ÂÚÌ·Ó›· ‹ ÙËÓ ∞˘ÛÙÚ›· ÛÙ· 1896 Î·È 1897, Î·Ù·Ï·Ì‚¿ÓÂÈ ÂÍ¤-

¯Ô˘Û· ı¤ÛË ·Ó¿ÌÂÛ· ÛÙ· ÌÓËÌÂ›· Ô˘ ÂÈÏ¤ÁÔ˘Ó ÔÈ ÂÎ‰fiÙÂ˜ ÙË˜ £ÂÛ-

Û·ÏÔÓ›ÎË˜.

√ ‡ÚÁÔ˜ ÂÚÈ‚·ÏÏfiÙ·Ó ·fi ÂÚÈÙÂ›¯ÈÛÌ· Ô˘ Â›¯Â ÔÎÙ·ÁˆÓÈÎfi Û¯‹Ì·

ÌÂ ¯·ÌËÏfi ‡„Ô˜ (ÂÚ›Ô˘ ¤ÓÙÂ Ì¤ÙÚ·). ™Â ÙÚÂÈ˜ ·fi ÙÈ˜ ·È¯Ì¤˜ ÙÔ˘

ÂÚÈÙÂÈ¯›ÛÌ·ÙÔ˜ ˘‹Ú¯·Ó ÈÛ¿ÚÈıÌÔÈ ÔÎÙ·ÁˆÓÈÎÔ› ˘ÚÁ›ÛÎÔÈ, ÂÓÒ ¤Ó·˜

Ù¤Ù·ÚÙÔ˜ Î·È ÌÂÁ·Ï‡ÙÂÚÔ˜ ˘ÚÁ›ÛÎÔ˜ ˘‹Ú¯Â Ì¤Û· ÛÙÔÓ ÂÚ›‚ÔÏÔ. ΔÔ

ÂÚÈÙÂ›¯ÈÛÌ· Î·ÙÂ‰·Ê›ÛÙËÎÂ ÙÔ 1911. √ ‡ÚÁÔ˜ ÎËÚ‡¯ıËÎÂ ÂıÓÈÎfi

·Ú¯·ÈÔÏÔÁÈÎfi ÌÓËÌÂ›Ô ÛÙÈ˜ 23.8.1913. √È 12 ÊˆÙÔÁÚ·Ê›Â˜ ÙË˜ ÂÓfi-

ÙËÙ·˜ ·˘Ù‹˜ Î·Ï‡ÙÔ˘Ó ÙËÓ ÂÚ›Ô‰Ô 1907-1970, Ù·˘Ù›˙ÔÓÙ·È ‰ËÏ·‰‹

ÌÂ ÙË ¯ÚÔÓÈÎ‹ ÂÚ›Ô‰Ô Î·Ù¿ ÙËÓ ÔÔ›· Ô ‡ÚÁÔ˜ ÌÂÙ·‚Ï‹ıËÎÂ ·fi

«ÌÓËÌÂ›Ô» (fiˆ˜ ÔÏÏ¿ ¿ÏÏ·) ÛÂ Û‹Ì· Î·Ù·ÙÂı¤Ó ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜.

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·ÌÔÚÊÒıËÎÂ ÛÙÈ˜ ·Ú¯¤˜ ÙÔ˘ ÂÈÎÔ-

ÛÙÔ‡ ·ÈÒÓ·. ΔÔ 1907 ÔÈÎÔ‰ÔÌ‹ıËÎÂ Í‡ÏÈÓË ·Ô‚¿ıÚ·, ÚÔÎÂÈÌ¤ÓÔ˘

Ó· ÂÍ˘ËÚÂÙ‹ÛÂÈ ÙË Ó·˘ÛÈÏÔ˝· ÙÔ˘ £ÂÚÌ·˚ÎÔ‡ ∫fiÏÔ˘. ∏ ¯Ú‹ÛË

·˘Ù‹ Ì·˜ ÂÈÙÚ¤ÂÈ Ó· ·ÓÙÈÏËÊıÔ‡ÌÂ ÙË ÛÎÔÈÌfiÙËÙ· ÙË˜ ·„›‰·˜ Î·È

ÙË˜ ÂÚ›ÊÚ·ÍË˜, Ô˘ ·¤ÎÏÂÈÂ ÙËÓ ·Ô‚¿ıÚ· ·fi ÙÔ ¯ÒÚÔ ÙË˜ ÚÔ-

Î˘Ì·›·˜. ∞Ó Î·È Ë ÂÙ·ÈÚÂ›· Ó·˘ÛÈÏÔ˝·˜ £ÂÚÌ·˚ÎÔ‡ ÙÒ¯Â˘ÛÂ ÁÚ‹-

ÁÔÚ·, Ë ·Ô‚¿ıÚ· ‰È·ÙËÚ‹ıËÎÂ ÁÈ· ÌÂÚÈÎ¤˜ ‰ÂÎ·ÂÙ›Â˜. ™ÙÔ ‚¿ıÔ˜,

Ì¤Û· ·fi ÙËÓ ·„›‰·, Ê·›ÓÂÙ·È Ë Ô‰fi˜ ∂ıÓÈÎ‹˜ ∞Ì‡ÓË˜.

√ §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


£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏98k

∏ ÂÈÎfiÓ· ÚÔ¤Ú¯ÂÙ·È ·fi Î·ÚÙÔÛÙ¿Ï ÙˆÓ Matarasso, Saragoussi

& Rousso, Ô˘ ÂÎ‰fiıËÎÂ ÛÙË £ÂÛÛ·ÏÔÓ›ÎË ÙÔ 1908. √ ·ÂÈÎÔÓÈ˙fi-

ÌÂÓÔ˜ ËÏÂÎÙÚÈÎfi˜ ÙÚÔ¯Èfi‰ÚÔÌÔ˜ ·ÔÙÂÏÔ‡ÛÂ ÚfiÛÊ·ÙÔ ·fiÎÙËÌ·

ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜, ‰Â‰ÔÌ¤ÓÔ˘ fiÙÈ ÙÔ ¤ÙÔ˜ ÂÎÂ›ÓÔ ÔÈ ÈÔÎ›ÓËÙÔÈ ÙÚÔ-

¯Èfi‰ÚÔÌÔÈ ·ÓÙÈÎ·Ù·ÛÙ¿ıËÎ·Ó ÌÂ ËÏÂÎÙÚÔÎ›ÓËÙÔ˘˜.

∏ Ô‰fi˜ ∂ıÓÈÎ‹˜ ∞Ì‡ÓË˜ (Ã·ÌÈÓÙÈ¤) ¿Ú¯ÈÛÂ Ó· Î·Ù·ÛÎÂ˘¿˙ÂÙ·È ÙÔ

1889, ÛÂ ¤‰·ÊÔ˜ Ô˘ ·Ï·ÈfiÙÂÚ· ·Ó‹ÎÂ ÛÂ ıÚËÛÎÂ˘ÙÈÎ¿ È‰Ú‡Ì·Ù·

·ÏÏ¿ Â›¯Â ÂÚÈ¤ÏıÂÈ ÛÙÔ ·˘ÙÔÎÚ·ÙÔÚÈÎfi Ù·ÌÂ›Ô. ΔÔ ÛÈÓÙÚÈ‚¿ÓÈ ·ÓÂ-

Á¤ÚıËÎÂ ÙËÓ ›‰È· ÂÔ¯‹ ·fi ÙÔ ÛÔ˘ÏÙ¿ÓÔ Ã·Ì›ÓÙ. ™‡ÌÊˆÓ· ÌÂ ÙÔÓ

·ÔÏÔÁÈÛÌfi ÙÔ˘ ‚ÈÏ·ÂÙ›Ô˘ £ÂÛÛ·ÏÔÓ›ÎË˜, Ë ˘‰ÚÔ‰fiÙËÛ‹ ÙÔ˘ ı·

ÁÈÓfiÙ·Ó ·fi ÙÔÈÎ‹ ˘fiÁÂÈ· ÚÔ‹ Î·È, Û‡ÌÊˆÓ· ÌÂ ÙÔÓ ·Ú¯ÈÎfi Û¯Â-

‰È·ÛÌfi, ÙÔ ‡„Ô˜ ÙÔ˘ ı· ‹Ù·Ó ÔÎÙÒ Ì¤ÙÚ· (‰ÂÓ ¤ÊÙ·ÛÂ Ô‡ÙÂ Ù· ÌÈÛ¿).

ΔÔ ÎfiÛÙÔ˜ ÙÔ˘, Ô˘ ÚÔ¸ÔÏÔÁ›ÛıËÎÂ ÛÂ 600 Ï›ÚÂ˜, ı· ¯ÚÂˆÓfiÙ·Ó

ÛÙÔ «ÚÔÛˆÈÎfi Ù·ÌÂ›Ô ÙÔ˘ ™Ô˘ÏÙ¿ÓÔ˘, fiˆ˜ Î·È ¿ÏÏÂ˜ Â˘ÏÔÁËÌ¤-

ÓÂ˜ ÊÈÏ·ÓıÚˆ›Â˜ ÙË˜ ∞.ª.».

ΔÔ ¿Óˆ Ì¤ÚÔ˜ ÙË˜ Ô‰Ô‡ ∂ıÓÈÎ‹˜ ∞Ì‡ÓË˜ Î·È ÙÔ ÛÈÓÙÚÈ‚¿ÓÈ (ÛÙË ÛËÌÂÚÈÓ‹ Ï·ÙÂ›· ™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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏100k

∏ ÚÒÙË ÊÔÚ¿ Ô˘ Ô ∂ÏÂ˘ı¤ÚÈÔ˜ μÂÓÈ˙¤ÏÔ˜ ÂÈÛÎ¤ÊÙËÎÂ ÙËÓ ·Â-

ÏÂ˘ıÂÚˆÌ¤ÓË ·fi ÙÔÓ ÂÏÏËÓÈÎfi ÛÙÚ·Ùfi £ÂÛÛ·ÏÔÓ›ÎË ‹Ù·Ó Î·Ù¿ ÙËÓ

ÂÈÛÙÚÔÊ‹ ÙÔ˘ ·fi ÙË Û˘Ó‰È¿ÛÎÂ„Ë ÙÔ˘ §ÔÓ‰›ÓÔ˘, ÙÔÓ π·ÓÔ˘¿ÚÈÔ

ÙÔ˘ 1913. ™‡ÌÊˆÓ· ÌÂ ÙËÓ ÂÊËÌÂÚ›‰· «¡¤· ∞Ï‹ıÂÈ·» (26.1.1913):

«ÔÏ‡ ÚÔ ÙË˜ ÌÂÛËÌ‚Ú›·˜ ·ÎfiÌË ÙÔ Ï‹ıÔ˜ ‹Ú¯ÈÛÂ Û˘ÁÎÂÓÙÚÔ‡ÌÂ-

ÓÔÓ ÂÈ˜ ÙËÓ ÚÔ ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘ Ï·ÙÂ›·Ó, fiÔ˘ Â›ÛË˜ ÚÔ-

Û‹ÏıÔÓ Ù· Ì¤ÏË ·ÛÒÓ ÙˆÓ Û˘ÓÙÂ¯ÓÈÒÓ, ÔÈ ÂÌÔÚÔ¸¿ÏÏËÏÔÈ (…)

Î·È Ï‹ıÔ˜ ÔÏ‡, Ô‡Ùˆ˜ ÒÛÙÂ Ë Û˘ÁÎ¤ÓÙÚˆÛÈ˜ Î·Ù¤ÛÙË ÔÏ˘ÏË-

ı‹˜».

√ ∂. μÂÓÈ˙¤ÏÔ˜ ¤ÊÙ·ÛÂ ÛÙÈ˜ 3 ÙÔ ·fiÁÂ˘Ì· ÛÙÔ ÛÈ‰ËÚÔ‰ÚÔÌÈÎfi

ÛÙ·ıÌfi. ™ÙË ÊˆÙÔÁÚ·Ê›·, Ô ÎfiÛÌÔ˜ ¤¯ÂÈ ÛÙÚ·ÌÌ¤ÓÔ ÙÔ ‚Ï¤ÌÌ· ÚÔ˜

ÙÔ ¿Óˆ Ì¤ÚÔ˜ ÙË˜ Ô‰Ô‡ ∂ıÓÈÎ‹˜ ∞Ì‡ÓË˜, ÂÚÈÌ¤ÓÔÓÙ·˜ fiÙÈ Ô Úˆ-

ı˘Ô˘ÚÁfi˜ ı· ‰È¤Û¯È˙Â ÙËÓ ∂ÁÓ·Ù›· (fiÔ˘ Â›ÛË˜ ÙÔÓ ÂÚ›ÌÂÓ·Ó

ÔÏÏÔ›), ı· Î·Ù¤‚·ÈÓÂ ÙËÓ ∂ıÓÈÎ‹˜ ∞Ì‡ÓË˜ Î·È ı· Û˘Ó¤¯È˙Â ÚÔ˜ ÙË

ÏÂˆÊfiÚÔ ÙˆÓ ∂ÍÔ¯ÒÓ ÁÈ· Ó· ÂÈÛÎÂÊÙÂ› ÙÔ ÚÔÛˆÚÈÓfi ·Ó¿ÎÙÔÚÔ

(ÛÙË ÛËÌÂÚÈÓ‹ ÛÙ¿ÛË °ÂˆÚÁ›Ô˘). ŸÌˆ˜ Ô μÂÓÈ˙¤ÏÔ˜ ‹ÁÂ ·Â˘ıÂ›·˜

-Ì¤Ûˆ ÙË˜ Ô‰Ô‡ ∫Ô˘ÓÙÔ˘ÚÈÒÙÔ˘- ÛÙÔ ·Ú·ÏÈ·Îfi ÍÂÓÔ‰Ô¯Â›Ô «™Ï¤-

ÓÙÈÙ» ÁÈ· Ó· ·Ó··˘ÙÂ›. «√‡Ùˆ˜, ÔÈ ¯ÈÏÈ¿‰Â˜ ÙÔ˘ ÎfiÛÌÔ˘ (…) ¤ÌÂÈÓ·Ó

ÌÂ ÙËÓ ·ÔÁÔ‹ÙÂ˘ÛÈÓ».

∞Ó·ÌÔÓ‹ ÁÈ· ÙËÓ ¤ÏÂ˘ÛË ÙÔ˘ ∂ÏÂ˘ıÂÚ›Ô˘ μÂÓÈ˙¤ÏÔ˘ ÛÙËÓ Ï·ÙÂ›· ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘, 25.1.1913

ÕÊÈÍË ÙÔ˘ μÂÓÈ˙¤ÏÔ˘. ΔÂÏÂ˘Ù·›Â˜ ÚÔÂÙÔÈÌ·Û›Â˜ 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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏102k

√ Î‹Ô˜ ·˘Ùfi˜ ‚ÚÈÛÎfiÙ·Ó ·Ó¿ÌÂÛ· ÛÙÔÓ ‡ÚÁÔ Î·È ÙÔ ÛËÌÂÚÈÓfi

μ·ÛÈÏÈÎfi £¤·ÙÚÔ. ∏ ·ÚÔ˘Û›· ¿ÁÁÏˆÓ Î·È Á¿ÏÏˆÓ ·ÍÈˆÌ·ÙÈÎÒÓ

Î·ıÈÛÙ¿ ‚¤‚·ÈË ÙË ¯ÚÔÓÔÏfiÁËÛË ÛÙËÓ ÂÚ›Ô‰Ô ÙÔ˘ ÚÒÙÔ˘ ·ÁÎÔ-

ÛÌ›Ô˘ ÔÏ¤ÌÔ˘. √È Û˘ÁÎÂÓÙÚÒÛÂÈ˜ Ô˘ ÁÓˆÚ›˙Ô˘ÌÂ ·fi ÙËÓ ÂÔ¯‹

ÂÎÂ›ÓË (‰ÂÓ ÂÈÙÚ¿ËÎ·Ó ÔÏÏ¤˜) Û˘Ó‰¤ÔÓÙ·È ÌÂ ÙËÓ ÂÍ¤ÏÈÍË ÙÔ˘

ÂıÓÈÎÔ‡ ‰È¯·ÛÌÔ‡. ¶Èı·Ó‹ ÂÚ›ÛÙ·ÛË Â›Ó·È Ë Û˘ÁÎ¤ÓÙÚˆÛË ÙÔ˘ ™˘Ï-

ÏfiÁÔ˘ ºÈÏÂÏÂ˘ı¤ÚˆÓ, ÛÙÈ˜ 17.4.1916, ÌÂ ÔÌÈÏËÙ‹ ÙÔÓ ¢ËÌ‹ÙÚÈÔ

¢›ÁÎ·. ¢ÂÓ ·ÔÎÏÂ›ÂÙ·È, fiÌˆ˜, Ó· ÚfiÎÂÈÙ·È ÁÈ· ÙË Û˘ÁÎ¤ÓÙÚˆÛË ‰È·-

Ì·ÚÙ˘Ú›·˜ ÙË˜ 8Ë˜ ∞˘ÁÔ‡ÛÙÔ˘ 1916, ·fi ÙËÓ ÔÔ›· ÍÂÎ›ÓËÛÂ Î·È ÙÔ

∫›ÓËÌ· ÙË˜ ∂ıÓÈÎ‹˜ ÕÌ˘Ó·˜ (¿ÏÈ ÌÂ ÔÌÈÏËÙ‹ ÙÔÓ ¢. ¢›ÁÎ·). ∫·È ÔÈ

‰‡Ô ËÌÂÚÔÌËÓ›Â˜ (ÌÂ ÙÔ ·Ï·Èfi ËÌÂÚÔÏfiÁÈÔ) Â›Ó·È Û˘Ì‚·Ù¤˜ ÌÂ ÙÔ

„¿ıÈÓÔ Î·¤ÏÔ «·Ó·Ì¿», Ô˘ ÊÔÚÔ‡Ó ÔÈ ÂÚÈÛÛfiÙÂÚÔÈ ·fi ÙÔ˘˜

ÂÈÎÔÓÈ˙fiÌÂÓÔ˘˜. ™ÙËÓ ÚÒÙË ÂÚ›ÙˆÛË, Ë ÔÌÈÏ›· ¤ÁÈÓÂ Ì¤Û· ÛÙÔ

Î˘Ú›ˆ˜ (ÌË ÂÈÎÔÓÈ˙fiÌÂÓÔ) ÎÙ›ÚÈÔ ÙÔ˘ Î‹Ô˘. ™ÙË ‰Â‡ÙÂÚË, ÔÈ ÔÌÈÏËÙ¤˜

·Ó¤‚ËÎ·Ó Â¿Óˆ ÛÙÔ ÂÈÎÔÓÈ˙fiÌÂÓÔ ÂÚ›ÙÂÚÔ ÙË˜ ËÏÂÎÙÚÈÎ‹˜ ÂÙ·È-

ÚÂ›·˜.

™˘ÁÎ¤ÓÙÚˆÛË ÛÙÔÓ ∫‹Ô ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘, 1916

™˘ÁÎ¤ÓÙÚˆÛË ‰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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏104k

™Ù· ÂÓ‹ÓÙ· ¯ÚfiÓÈ· Ô˘ ·ÎÔÏÔ‡ıËÛ·Ó, Ë Ï·ÙÂ›· ÌÚÔÛÙ¿ ÛÙÔÓ

‡ÚÁÔ ˘¤ÛÙË ÔÈÎ›ÏÂ˜ ÌÂÙ·‚ÔÏ¤˜. ª›· ·fi ·˘Ù¤˜ ‹Ù·Ó Ë Î·ÙÂ‰¿ÊÈ-

ÛË ÙÔ˘ Û˘ÁÎÚÔÙ‹Ì·ÙÔ˜ ÙÔ˘ Ù·˘ÙÒÓ˘ÌÔ˘ Î‹Ô˘ (1958) Î·È Ë ·Ó¤-

ÁÂÚÛË ‰‡Ô ‰ËÌÔÛ›ˆÓ ÎÙÈÚ›ˆÓ ÛÙË Û˘Ì‚ÔÏ‹ ÌÂ ÙËÓ Ô‰fi ∂ıÓÈÎ‹˜ ∞Ì‡-

ÓË˜, Ô˘ Î·ıfiÚÈÛ·Ó ÙÔÓ ·ÈÛıËÙÈÎfi ¯·Ú·ÎÙ‹Ú· ÙË˜ ÂÚÈÔ¯‹˜ (ÛÙÔ

‰ÂÍÈfi ÙÌ‹Ì· ÙË˜ ÊˆÙÔÁÚ·Ê›·˜): Ù· ÎÙ›ÚÈ· ÙÔ˘ ∫Ú·ÙÈÎÔ‡ £Â¿ÙÚÔ˘

μÔÚÂ›Ô˘ ∂ÏÏ¿‰Ô˜ (1952-1962) Î·È ÙË˜ §¤Û¯Ë˜ ºÚÔ˘Ú¿˜ £ÂÛÛ·ÏÔ-

Ó›ÎË˜ (1952). ∏ Î˘ÎÏÔÊÔÚÈ·Î‹ Ú‡ıÌÈÛË ÙË˜ Ï·ÙÂ›·˜, ÌÂ ÙËÓ ˘Ô-

¯ÚÂˆÙÈÎ‹ Î˘ÎÏÈÎ‹ ÔÚÂ›·, ÂÚfiÎÂÈÙÔ Ó· Î·Ù·ÚÁËıÂ› ÌÂÙ¿ ·fi ÌÂÚÈÎ¿

¯ÚfiÓÈ·, fiÙ·Ó ÌÔÓÔ‰ÚÔÌ‹ıËÎ·Ó Ë Ô‰fi˜ ¶·‡ÏÔ˘ ªÂÏ¿ (Ô˘ Î·ÙÂ‚·›-

ÓÂÈ ·fi ÙÔ ¿Óˆ ·ÚÈÛÙÂÚfi ÙÌ‹Ì· ÙË˜ ÊˆÙÔÁÚ·Ê›·˜) Î·È Ë Ô‰fi˜ μ·ÛÈ-

Ï¤ˆ˜ °ÂˆÚÁ›Ô˘ (Ô˘ ·fi ÙËÓ Ï·ÙÂ›· §Â˘ÎÔ‡ ¶‡ÚÁÔ˘ Û˘ÓÂ¯›˙ÂÈ

ÚÔ˜ Ù· ·Ó·ÙÔÏÈÎ¿). ™ÙÔ Î¿Ùˆ ‰ÂÍÈfi Ì¤ÚÔ˜ ‰È·ÎÚ›ÓÂÙ·È Ë ÛÙ¤ÁË ÙÔ˘

μ·ÛÈÏÈÎÔ‡ £Â¿ÙÚÔ˘. ∏ 7Ë πÔ˘Ó›Ô˘ 1962 ‹Ù·Ó ËÌ¤Ú· ¶¤ÌÙË. Ÿˆ˜

‰Â›¯ÓÔ˘Ó ÔÈ ÛÎÈ¤˜, Ë Ï‹„Ë ¤ÁÈÓÂ ·ÔÁÂ˘Ì·ÙÈÓ‹ ÒÚ·. ∏ Î›ÓËÛË Ô¯Ë-

Ì¿ÙˆÓ Â›Ó·È ÂÏ¿¯ÈÛÙË ÛÙËÓ ÂÚÈÔ¯‹, ·ÏÏ¿ ·ÚÎÂÙÔ› Â˙Ô› ‚Ú›ÛÎÔÓÙ·È

ÌÚÔÛÙ¿ ÛÙÔÓ ‡ÚÁÔ.

¶Ï·ÙÂ›· §Â˘ÎÔ‡ ¶‡ÚÁÔ˘, 1962

ΔÔ Ì¤Á·ÚÔÓ ÙÔ˘ ∂ıÓÈÎÔ‡ £Â¿ÙÚÔ˘ ÙË˜ fiÏÂˆ˜, ÚÔ ÙË˜ Ï·ÙÂ›·˜ ÙÔ˘ §Â˘ÎÔ‡¶‡ÚÁÔ˘ Î·È ÌÈ·˜ ÙˆÓ ÎÂÓÙÚÈÎˆÙ¤ÚˆÓ Ô‰ÈÎÒÓ·ÚÙËÚÈÒÓ ÙË˜ fiÏÂˆ˜, 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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏106k

∏ Ï‹„Ë ¤ÁÈÓÂ ÚÔ˜ ÙËÓ Ô‰fi μ·ÛÈÏ¤ˆ˜ °ÂˆÚÁ›Ô˘. ∏ ÂÈÎfiÓ· ÍÂÓ›˙ÂÈ ÙÔÓ

ÛËÌÂÚÈÓfi £ÂÛÛ·ÏÔÓÈÎ¤·, ‰ÈfiÙÈ Ë ˘Ô¯ÚÂˆÙÈÎ‹ Î˘ÎÏÈÎ‹ ÔÚÂ›· ÛÙË

‰È·ÛÙ·‡ÚˆÛË ·˘Ù‹ ¤¯ÂÈ Î·Ù·ÚÁËıÂ› ÚÔ ÂÙÒÓ, ÂÓÒ ÙÔ ÎÙ›ÚÈÔ ÙÔ˘

ø‰Â›Ô˘ (ÛÙ· ‰ÂÍÈ¿ ÙË˜ ÂÈÎfiÓ·˜, ÌÂ fi„Ë ÚÔ˜ ÙÔ Ê·Îfi) ¤¯ÂÈ Î·ÙÂ‰·-

ÊÈÛÙÂ›, fiˆ˜ Î·È Ù· ¿ÏÏ· ÎÙ›ÚÈ· ›Ûˆ ÙÔ˘. ŒÙÛÈ, ÙÔ ÙÔ›Ô ¿ÏÏ·ÍÂ ÚÈ˙È-

Î¿. ™Ù· ‰ÂÍÈ¿ ÙÔ˘ ÊˆÙÔÁÚ¿ÊÔ˘ ‚ÚÈÛÎfiÙ·Ó ÙÔ ÛÙÚ·ÙfiÂ‰Ô ΔÛÈÚÔ-

ÁÈ¿ÓÓË (fiÔ˘ ÙÒÚ· ·ÓÂÁÂ›ÚÂÙ·È ‰ËÌ·Ú¯È·Îfi Ì¤Á·ÚÔ), ÂÓÒ ÛÙ· ·ÚÈ-

ÛÙÂÚ¿ ÙÔ˘ ÙÔ ÎÙ›ÚÈÔ ÙË˜ ËÏÂÎÙÚÈÎ‹˜ ÂÙ·ÈÚÂ›·˜ (ÙÒÚ· ÙÔ ¯ÒÚÔ Î·Ù·-

Ï·Ì‚¿ÓÂÈ Ï˘fiÌÂÓÔ Û¯ÔÏÂ›Ô). ¶ÈÔ ·ÚÈÛÙÂÚ¿, ‚Ú›ÛÎÂÙ·È Ë Ó¤· ·Ú·Ï›·.

™‡ÌÊˆÓ· ÌÂ ÙË ÛËÌÂ›ˆÛË, Ë Ï‹„Ë ¤ÁÈÓÂ ΔÂÙ¿ÚÙË ÌÂÛËÌ¤ÚÈ, ÂÚÁ¿ÛÈ-

ÌË ËÌ¤Ú·. ∂ÈÎÚ·ÙÂ› Î·È Â‰Ò Ë ·›ÛıËÛË ÙË˜ ÎÂÓ‹˜ fiÏË˜.

™˘Ì‚ÔÏ‹ ÙˆÓ Ô‰ÒÓ μ·ÛÈÏ¤ˆ˜°ÂˆÚÁ›Ô˘ Î·È ¢ÂÛÂÚ¤, 1962 (·)

™˘ÁÎÔÈÓˆÓÈ·Îfi˜ ÎfiÌ‚Ô˜ ÙË˜ Ì·ÎÂ‰ÔÓÈÎ‹˜ ÚˆÙÂ˘Ô‡ÛË˜, ÌÂ ÙËÓ ÏÂˆÊfiÚÔÓ ¡›ÎË˜ ¿ÁÔ˘Û·Ó ÚÔ˜ ÙËÓ Ï·ÙÂ›·Ó ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘, ‰ÈÂÚ¯ÔÌ¤ÓËÓ ¤ÌÚÔÛıÂÓ ·˘ÙÔ‡ Î·È ‰È·‰Ú¿ÌÔ˘Û·Ó ÔÏfiÎÏËÚÔÓ ÙËÓ ·Ú·Ï›·ÓÙË˜ fiÏÂˆ˜, 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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏108k

∏ Ï‹„Ë ¤ÁÈÓÂ ÂÚ›Ô˘ ·fi ÙÔ ›‰ÈÔ ÛËÌÂ›Ô, ·ÂÈÎÔÓ›˙ÔÓÙ·˜ ÙËÓ ›‰È·

˘Ô¯ÚÂˆÙÈÎ‹ Î˘ÎÏÈÎ‹ ÔÚÂ›·, ·ÏÏ¿ Ô Ê·Îfi˜ ¤¯ÂÈ ÛÙÚ·ÊÂ› ÚÔ˜ ÙËÓ

Ô‰fi ¢ÂÛÂÚ¤. ∞ÔÎ·Ï‡ÙÂÈ ¤ÙÛÈ ÙÔ ÎÙ›ÚÈÔ ÙË˜ Ã∞¡£ (ÌÂ ÙÔ Î·Ì·-

Ó·ÚÈfi ÌÂ ÙÔÓ ÙÚÔ‡ÏÔ), ÙËÓ Ô‰fi ∞ÁÁÂÏ¿ÎË Î·È ÙË ¢ÈÂıÓ‹ ŒÎıÂÛË £ÂÛ-

Û·ÏÔÓ›ÎË˜. ™Ù· ‰ÂÍÈ¿, ÛÂ ÚÒÙÔ Ï¿ÓÔ, ÙÔ ÂÚÈÙÂ›¯ÈÛÌ· ÙÔ˘ ÛÙÚ·ÙÔ-

¤‰Ô˘ ΔÛÈÚÔÁÈ¿ÓÓË Î·È ÙÔ «™ÙÚ·ÙÈˆÙÈÎfi £¤·ÙÚÔ» (¤¯ÂÈ Î·ÙÂ‰·ÊÈ-

ÛÙÂ›). √˘ÛÈ·ÛÙÈÎ¿, Ô ÊˆÙÔÁÚ¿ÊÔ˜ ¤¯ÂÈ Û˘ÏÏ¿‚ÂÈ ÛÙÔ Ê·Îfi ÙÔ˘ ÙËÓ

·Ï·È¿ fiÏË (ÛÙÔ˘˜ ÏfiÊÔ˘˜) Î·È ÙË ‰˘ÙÈÎ‹ ÏÂ˘Ú¿ ÙË˜ ÓÂfiÙÂÚË˜

fiÏË˜.

™˘Ì‚ÔÏ‹ ÙˆÓ Ô‰ÒÓ μ·ÛÈÏ¤ˆ˜°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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏110k

∞fi ÙËÓ ·ÌÊ›ÂÛË ÙˆÓ ÂÈÎÔÓÈ˙fiÌÂÓˆÓ Ê·›ÓÂÙ·È fiÙÈ Ë Ï‹„Ë ¤¯ÂÈ Ú·Á-

Ì·ÙÔÔÈËıÂ› Î·ÏÔÎ·›ÚÈ. ™ÙÔ ‰ÂÍÈfi Ì¤ÚÔ˜ ÙË˜ Ï·ÙÂ›·˜ Á›ÓÔÓÙ·È ¤ÚÁ·

Î·È ¤¯ÂÈ ÌfiÏÈ˜ ·Ó·ÓÂˆıÂ› Ô ·ÛÊ·ÏÙÔÙ¿ËÙ·˜ ÙË˜ Ô‰Ô‡ μ·ÛÈÏ¤ˆ˜

°ÂˆÚÁ›Ô˘, ÌÚÔÛÙ¿ ·fi ÙÔ μ·ÛÈÏÈÎfi £¤·ÙÚÔ (‰ÂÍÈ¿). ŒÙÛÈ, Ë ÌÈÎÚ‹

Î˘ÎÏÔÊÔÚ›· ‰ÈÔ¯ÂÙÂ‡ÂÙ·È –ÌÂ ··ÁÔÚÂ˘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·ÙÂ‰·ÊÈÛÙÂ› ·Îfi-

ÌË, Ô‡ÙÂ fiÌˆ˜ Î·È ÙÔ ÔÏ˘ÒÚÔÊÔ ÍÂÓÔ‰Ô¯Â›Ô ÛÙÔ ‚¿ıÔ˜ (Ó˘Ó

«ª·ÎÂ‰ÔÓ›· ¶·ÏÏ¿˜») ¤¯ÂÈ ÔÏÔÎÏËÚˆıÂ›. ™ÙËÓ ÎÔÚ˘Ê‹ ÙÔ˘ ‡ÚÁÔ˘

ÏÂÈÙÔ˘ÚÁÂ› ·Ó·„˘ÎÙ‹ÚÈÔ. ™Â Û˘Ó‰˘·ÛÌfi ÌÂ ÙÔ˘˜ Ù‡Ô˘˜ ÙˆÓ Ô¯ËÌ¿-

ÙˆÓ, Ë Ï‹„Ë ÌÔÚÂ› Ó· ¯ÚÔÓÔÏÔÁËıÂ› Á‡Úˆ ÛÙ· 1970 ‹ 1971.

¶Ï·ÙÂ›· §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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏112k

√È ÌÂÁ¿ÏÂ˜ ÔÌÔÈfiÙËÙÂ˜ –·ÎfiÌË Î·È ÛÙË ‚Ï¿ÛÙËÛË-ÌÂ ÙËÓ ÂfiÌÂÓË

ÊˆÙÔÁÚ·Ê›·, ÚÔÛ‰ÈÔÚ›˙Ô˘Ó ¯ÚÔÓÔÏÔÁÈÎ¿ ÙË Ï‹„Ë. √È Ó·˘ÙÈÎ¤˜

ÛÙÔÏ¤˜ Â›Ó·È ıÂÚÈÓ¤˜. ¢ÂÓ Ê·›ÓÂÙ·È Ó· ˘¿Ú¯Ô˘Ó ·Ú·ÙËÚËÙ¤˜,

Ú¿ÁÌ· ÂÚ›ÂÚÁÔ ÁÈ· Ó·˘ÙÈÎ‹ ·Ú¤Ï·ÛË, ·ÎfiÌË Î·È ÁÈ· ‰È¤ÏÂ˘ÛË

Ì¿ÓÙ·˜, Î·Ù¿ ÙË ‰ÂÎ·ÂÙ›· ÙÔ˘ 1960.

¡·˘ÙÈÎ‹ Ì¿ÓÙ· ÛÙÔ §Â˘Îfi¶‡ÚÁÔ, ‰ÂÎ·ÂÙ›· 1960

¶·Ú¤Ï·ÛÈ˜ ÙÌËÌ¿ÙˆÓ μ.¡. ÚÔ ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘ ÂÈ˜ £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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏114k

∏ Û˘Ó‹ıË˜ fi„Ë ÙË˜ ÂÚÈÔ¯‹˜ ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘ ÛÙË ‰ÂÎ·ÂÙ›· ÙÔ˘

1960. √È ÂÓ‰˘Ì·Û›Â˜ (Î·È Ë ·Ú¤· Ô˘ „·ÚÂ‡ÂÈ ÛÙ· ‰ÂÍÈ¿) Ì·ÚÙ˘-

ÚÔ‡Ó Î¿ˆ˜ ÚÔÁÂÓ¤ÛÙÂÚË ¯ÚÔÓÔÏÔÁ›· Î·È ÔˆÛ‰‹ÔÙÂ (fiÏÔÈ

ÊÔÚ¿ÓÂ Ô˘Î¿ÌÈÛÔ) ÈÔ Î·ÏÔÎ·ÈÚÈÓfi Î·ÈÚfi. ∫¿Ùˆ ·fi ÙÔÓ ‡ÚÁÔ

Â›Ó·È Û˘ÁÎÂÓÙÚˆÌ¤ÓÔÈ ÔÈ ˘·›ıÚÈÔÈ ÊˆÙÔÁÚ¿ÊÔÈ ÙÔ˘. ™ÙË ‰ÂÎ·ÂÙ›·

ÙÔ˘ 1950 Â›¯·Ó ÊÙ¿ÛÂÈ ÙÔ˘˜ 17 (ÛÙË Û˘ÁÎÂÎÚÈÌ¤ÓË Ï‹„Ë ·ÂÈÎÔÓ›-

˙ÔÓÙ·È Ù¤ÛÛÂÚÈ˜, ·ÏÏ¿ ‰ÂÓ Ê·›ÓÔÓÙ·Ó fiÛÔÈ Â›Ó·È Ì¤Û· ÛÙÔ ¿ÚÎÔ).

√ ÂÚ›·ÙÔ˜ ÚÔ˜ ÙÔ §Â˘Îfi ¶‡ÚÁÔ ‹Ù·Ó Ù˘ÈÎ‹ Û˘Ó‹ıÂÈ· ÙˆÓ £ÂÛ-

Û·ÏÔÓÈÎ¤ˆÓ Ì¤¯ÚÈ ·ÎfiÌË ÙË ‰ÂÎ·ÂÙ›· ÙÔ˘ 1970. Ÿˆ˜ ‰Â›¯ÓÂÈ Ô

fiÁÎÔ˜ ÙˆÓ È‰ÈˆÙÈÎÒÓ ÊˆÙÔÁÚ·ÊÈÒÓ Ô˘ Î·Ù·Ï‹ÁÔ˘Ó ÛÙ· ·Ï·ÈÔˆ-

ÏÂ›·, Ë ÊˆÙÔÁÚ¿ÊËÛË ÌÚÔÛÙ¿ ÛÙÔ §Â˘Îfi ¶‡ÚÁÔ ‹Ù·Ó ÔÏ‡ Û˘ÓË-

ıÈÛÌ¤ÓË ·fi ÙËÓ ÂÔ¯‹ ÙÔ˘ ÌÂÛÔÔÏ¤ÌÔ˘ Ì¤¯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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏116k

∏ Ï‹„Ë ¤ÁÈÓÂ ·fi ÙËÓ ÎÔÚ˘Ê‹ ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘. ∏ ÁˆÓÈ·Î‹ (ÛÙ·

‰ÂÍÈ¿) ÔÈÎÔ‰ÔÌ‹ (Ô˘ ·ÓÙÈÎ·Ù¤ÛÙËÛÂ ÙÔ 1960 ÎÙ›ÛÌ· ÙË˜ ÙÔ˘ÚÎÔ-

ÎÚ·Ù›·˜) ÙÂÏÂÈÒÓÂÈ. ¢›Ï· ÙË˜, ÛÙÔ ÈÛfiÁÂÈÔ, Ë Ù·‚¤ÚÓ· «μÏ¿¯Ô˜».

™ÙËÓ ·¤Ó·ÓÙÈ ÁˆÓ›·, ÙÔ «∫·ÊÂÓÂ›Ô ÙˆÓ Î˘ÓËÁÒÓ». ™ÙÔ ‚¿ıÔ˜, Ô

ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˜ «∏Ï‡ÛÈ·» (Â› ÙË˜ ¶·‡ÏÔ˘ ªÂÏ¿). ∏ Ô‰fi˜ ·˘Ù‹

Û¯Â‰È¿ÛÙËÎÂ ˆ˜ Ì›· ·fi ÙÈ˜ «‰È·ÁˆÓ›Ô˘˜» ÙÔ˘ Ó¤Ô˘ ÔÏÂÔ‰ÔÌÈÎÔ‡

Û¯Â‰›Ô˘. ™˘Ó¤‰ÂÛÂ ÙÔ §Â˘Îfi ¶‡ÚÁÔ ÌÂ ÙËÓ ∞Á›· ™ÔÊ›· (‰‡Ô ‚·ÛÈÎ¿

ÌÓËÌÂ›· ÙË˜ fiÏË˜) Î·È ‰ËÌÈÔ‡ÚÁËÛÂ ÌÈ· ‰˘Ó·ÙfiÙËÙ· Î˘ÎÏÔÊÔÚÈ·Î‹˜

·Ó·ÎÔ‡ÊÈÛË˜ 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·ÙÂ›· ÙË˜ fiÏÂˆ˜, ÚˆÙÂ˘Ô‡ÛË˜ ÙÔ˘ μÔÚÂ›Ô˘ 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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏118k

∏ Ï‹„Ë Â›Ó·È Û¯Â‰fiÓ ›‰È· ÌÂ ÙËÓ ÚÔËÁÔ‡ÌÂÓË. ∞ÏÏ¿ ÛÙÚ¤ÊÔÓÙ·˜ ÙÔ

Ê·Îfi ÂÚ›Ô˘ 10 ÌÔ›ÚÂ˜ ÚÔ˜ Ù· ‰ÂÍÈ¿ ÙÔ˘, Ô ÊˆÙÔÁÚ¿ÊÔ˜ ·ÔÙ‡-

ˆÛÂ ÙÈ˜ ÔÈÎÔ‰ÔÌ¤˜ ·¤Ó·ÓÙÈ ·fi ÙÔ §Â˘Îfi ¶‡ÚÁÔ, ÌÂ Â›ÎÂÓÙÚÔ ÙÔ

Î·Ê¤ «¡ÙÔÚ¤» (ÛÙË ÁˆÓ›· ‰ÂÍÈ¿). ∏ Ô‰fi˜ ¶·‡ÏÔ˘ ªÂÏ¿ ‰È·ÎÚ›ÓÂÙ·È

ÛÂ ÌÂÁ·Ï‡ÙÂÚÔ ‚¿ıÔ˜. ∏ ÌfiÓË ‰È·ÊÔÚ¿ ÌÂ ÙËÓ ÚÔËÁÔ‡ÌÂÓË ÊˆÙÔ-

ÁÚ·Ê›· (ÂÎÙfi˜ ·fi ÙÔ ¿ÛÚÔ ·˘ÙÔÎ›ÓËÙÔ ÌÚÔÛÙ¿ ÛÙËÓ Ù·‚¤ÚÓ· Ô˘

¤¯ÂÈ ÌÂÙ·ÎÈÓËıÂ›) Â›Ó·È ÙÔ Ì¤ÁÂıÔ˜ ÙÔ˘ ı¿ÌÓÔ˘, ÛÙÔ ·ÚÈÛÙÂÚfi ÙÌ‹Ì·

ÙË˜ ÊˆÙÔÁÚ·Ê›·. ∏ ‰È·ÊÔÚ¿ ·˘Ù‹ ÚÔ‰›‰ÂÈ fiÙÈ Ë Ï‹„Ë ‰ÂÓ ¤ÁÈÓÂ ÙËÓ

›‰È· Ì¤Ú·, ·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

∞ ¶ £ & ¢ ∂ £U N I V E R S I T Y & T I F

ΔÔ 1925, ÌfiÏÈ˜ 13 ¯ÚfiÓÈ· ÌÂÙ¿ ÙËÓ ·ÂÏÂ˘ı¤ÚˆÛË ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜,

˘fi Û˘Óı‹ÎÂ˜ Ù·¯Â›·˜ ‰È·ÊÔÚÔÔ›ËÛË˜ ÛÙË Û‡ÓıÂÛË ÙÔ˘ ÏËı˘ÛÌÔ‡

ÙË˜ (Û‡Ì‚·ÛË ·ÓÙ·ÏÏ·Á‹˜ ÏËı˘ÛÌÒÓ) Î·È ÙÔ˘ ÚfiÏÔ˘ ÙË˜ ÛÙË ÓfiÙÈ·

μ·ÏÎ·ÓÈÎ‹ (ÏfiÁˆ ÙË˜ ·ÏÏ·Á‹˜ ÙˆÓ Û˘ÓfiÚˆÓ), Ë fiÏË ·¤ıÂÛÂ ÙÈ˜ ÂÏ›-

‰Â˜ ÙË˜ ÁÈ· ÙÔ Ì¤ÏÏÔÓ ÛÂ ‰‡Ô Ó¤Ô˘˜ ıÂÛÌÔ‡˜ Ô˘ ‰ËÌÈÔ˘ÚÁ‹ıËÎ·Ó ÙÔ

¤ÙÔ˜ ÂÎÂ›ÓÔ: ΔË ¢ÈÂıÓ‹ ŒÎıÂÛË £ÂÛÛ·ÏÔÓ›ÎË˜ (¢∂£) Î·È ÙÔ ¶·ÓÂÈÛÙ‹-

ÌÈÔ £ÂÛÛ·ÏÔÓ›ÎË˜ (Ô˘ ÙÔ 1954 ÌÂÙÔÓÔÌ¿ÛÙËÎÂ ÛÂ ∞ÚÈÛÙÔÙ¤ÏÂÈÔ (∞¶£).

ΔÔ ¶·ÓÂÈÛÙ‹ÌÈÔ ÏÂÈÙÔ‡ÚÁËÛÂ ÙËÓ ÚÒÙË ¯ÚÔÓÈ¿ ÌÂ 27 ÊÔÈÙËÙ¤˜. √Á‰fi-

ÓÙ· ¯ÚfiÓÈ· ÌÂÙ¿ Â›¯Â 70.000. ΔËÓ ŒÎıÂÛË ÔÏÏÔ› ÙËÓ ıÂÒÚËÛ·Ó ˆ˜

·ÙfiËÌ·. ∞Ô‰Â›¯ıËÎÂ Ô Ì·ÎÚÔ‚ÈfiÙÂÚÔ˜ ÔÈÎÔÓÔÌÈÎfi˜ ıÂÛÌfi˜ ÙË˜ μfiÚÂÈ-

·˜ ∂ÏÏ¿‰·˜.

∫·È Ù· ‰‡Ô Ó¤· È‰Ú‡Ì·Ù· ÛÙÂÁ¿ÛÙËÎ·Ó ÛÙÔ ÌÔÓ·‰ÈÎfi ‰È·ı¤ÛÈÌÔ ¯ÒÚÔ ÙË˜

fiÏË˜, ÂÎÂ›ÓÔÓ Ô˘ ÛÙ·‰È·Î¿ ·ÂÏÂ˘ıÂÚÒıËÎÂ ·fi ÙËÓ ÎÔÈÌËÙËÚÈ·Î‹

¯Ú‹ÛË. ∫¿ÔÙÂ, ÔÈ ÂÎÙ¿ÛÂÈ˜ Ô˘ Î·Ù¤Ï·‚·Ó Ë ¢∂£ Î·È ÙÔ ∞¶£ ‚Ú›ÛÎÔ-

ÓÙ·Ó ÂÎÙfi˜ ÙˆÓ ÙÂÈ¯ÒÓ Î·È ¯ÚËÛÈÌÔÔÈ‹ıËÎ·Ó ˆ˜ ÎÔÈÌËÙ‹ÚÈ·, ‰È·‰Ô¯ÈÎ¿

Î·Ù¿ ÙË ÚˆÌ·˚Î‹, ÚˆÙÔ¯ÚÈÛÙÈ·ÓÈÎ‹, ‚˘˙·ÓÙÈÓ‹ Î·È ÔıˆÌ·ÓÈÎ‹ ÂÚ›Ô‰Ô.

ªÂ Ù· Ó¤· ÔÏÂÔ‰ÔÌÈÎ¿ Û¯¤‰È· Î·È ÙËÓ ·ÏÏ·Á‹ ÛÙË Û‡ÓıÂÛË ÙÔ˘ ÏËı˘-

ÛÌÔ‡, ÔÈ ¯ÒÚÔÈ ·˘ÙÔ› ÛÙ·‰È·Î¿ –ÛÂ ‰È¿ÛÙËÌ· ‰ÂÎ·ÂÙÈÒÓ- ·Ô‰ÂÛÌÂ‡ÙË-

Î·Ó Î·È ·ÊÈÂÚÒıËÎ·Ó ÛÙÈ˜ Ó¤Â˜ ¯Ú‹ÛÂÈ˜. ∫·ıÒ˜ Ù· ÎÙÈÚÈ·Î¿ ÚÔÁÚ¿ÌÌ·-

Ù· ÙˆÓ ‰‡Ô È‰Ú˘Ì¿ÙˆÓ ÚÔ¯ˆÚÔ‡Û·Ó, È‰È·›ÙÂÚ· ÌÂÙ¿ ÙÔ 1950, Ë ÛÙ·‰È·-

Î‹ Î·Ù¿ÏË„Ë ÙÔ˘ ¯ÒÚÔ˘ ÚÔÛÊ¤ÚÔÓÙ·Ó ÁÈ· ÊˆÙÔÁÚ¿ÊËÛË. ∞˘Ù‹ Î·ı’

·˘Ù‹ Ë ¢∂£, ‚¤‚·È·, ·ÔÙ¤ÏÂÛÂ ·˘ÙfiÓÔÌÔ ·ÓÙÈÎÂ›ÌÂÓÔ ·ÂÈÎfiÓÈÛË˜ ·fi

ÙËÓ ÚÒÙË Ì¤Ú· ÙË˜ ‡·ÚÍ‹˜ ÙË˜. ŒÙÛÈ, ÙÔ Û˘Ó·Ê¤˜ ÊˆÙÔÁÚ·ÊÈÎfi (Î·È

¯·ÚÙÔÁÚ·ÊÈÎfi) ˘ÏÈÎfi Ô˘ Û˘ÛÛˆÚÂ‡ÙËÎÂ Â›Ó·È ÔÁÎÒ‰Â˜. √È 17 ÊˆÙÔ-

ÁÚ·Ê›Â˜ ·fi ÙÔ ·Ú¯Â›Ô ÙË˜ °ÂÓÈÎ‹˜ °Ú·ÌÌ·ÙÂ›·˜ ∂ÈÎÔÈÓˆÓ›·˜ Î·È ÙË˜

°ÂÓÈÎ‹˜ °Ú·ÌÌ·ÙÂ›·˜ ∂ÓËÌ¤ÚˆÛË˜ ‰È·ÌÔÚÊÒÓÔ˘Ó ¤Ó· ÈÎ·ÓÔÔÈËÙÈÎfi

ÔÙÈÎfi ·Ê‹ÁËÌ· ÁÈ· ÙÔ Û¯ËÌ·ÙÈÛÌfi ÙˆÓ ‰‡Ô «fiÏÂˆÓ» Ô˘ ·ÔÙÂÏÔ‡Ó

¯·Ú·ÎÙËÚÈÛÙÈÎfi Î·È ÚÔ›Î· ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜.

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 ÚÒÙÂ˜ 14 ‰ÈÔÚÁ·ÓÒÛÂÈ˜ ÙË˜ ¢∂£ (1926-1939) Ú·ÁÌ·ÙÔÔÈ‹-

ıËÎ·Ó ÛÙÔ ¶Â‰›Ô ÙÔ˘ ÕÚÂˆ˜, ÙÔ ÔÔ›Ô ·Ú·¯ÒÚËÛ·Ó ÔÈ ¤ÓÔÏÂ˜

‰˘Ó¿ÌÂÈ˜ (ÂÎÂ› ÙÒÚ· Ú·ÁÌ·ÙÔÔÈÔ‡ÓÙ·È ÔÈ «·ÓıÔÂÎı¤ÛÂÈ˜»). √

¯ÒÚÔ˜ ‹Ù·Ó 38 ÛÙÚ¤ÌÌ·Ù· ÂÚ›Ô˘, ÏÈÁfiÙÂÚÔ ·fi ÙÔ ¤Ó· Ù¤Ù·ÚÙÔ

ÙË˜ ÛËÌÂÚÈÓ‹˜ ¤ÎÙ·ÛË˜ ÙË˜ ¢∂£. ∞ÚıÚˆÓfiÙ·Ó Á‡Úˆ ·fi ¤Ó·

ÎÂÓÙÚÈÎfi ‰È¿‰ÚÔÌÔ, Ë Â›ÛÔ‰Ô˜ ÙÔ˘ ÔÔ›Ô˘ ‚ÚÈÛÎfiÙ·Ó ÛÙË ÛËÌÂÚÈÓ‹

Ô‰fi μ·ÛÈÏ¤ˆ˜ °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· È‰ÈˆÙÈÎ¿ ÂÚ›ÙÂÚ· Î·È ·fi ÙË ‰ÂÍÈ¿ Ù· ‰ËÌfiÛÈ·.

ªÂÙ¿ ÙËÓ ·ÁÎfiÛÌÈ· ÔÈÎÔÓÔÌÈÎ‹ ÎÚ›ÛË (1929) Ô ‰ÈÂıÓ‹˜ ¯·Ú·ÎÙ‹-

Ú·˜ ÙË˜ ¢∂£ ‰ÔÎÈÌ¿ÛÙËÎÂ, ·ÏÏ¿ Ô ıÂÛÌfi˜ ÂÈ‚›ˆÛÂ.

∏ ·Ï·È¿ ¢∂£ ÛÙÔ ¶Â‰›Ô ÙÔ˘ ÕÚÂˆ˜ (1931)

¢ÈÂıÓ‹˜ ŒÎıÂÛË £ÂÛÛ·ÏÔÓ›ÎË˜ (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


U N I V E R S I T Y A N D T I F 49

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏124k

ΔÔ 1940 Ë ¢∂£ Î·Ù¤Ï·‚Â ÙÌ‹Ì· ÙÔ˘ ÛËÌÂÚÈÓÔ‡ ¯ÒÚÔ˘ ÙË˜ ÎÈ ÂÎÂ›

ÏÂÈÙÔ‡ÚÁËÛÂ. ∏ 15Ë ¢∂£ ‰È·ÎfiËÎÂ ·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‡ÚÁËÛÂ ÙÔ 1951. ∏ ÂÈÎÔÓÈ˙fiÌÂÓË Â›ÛÔ-

‰Ô˜ ‚ÚÈÛÎfiÙ·Ó ¿Óˆ ÛÙË §ÂˆÊfiÚÔ ™ÙÚ·ÙÔ‡ Î·È Û˘ÁÎÂÎÚÈÌ¤Ó· ÛÙÔ

Î·Ù·ÚÁËı¤Ó ÙÌ‹Ì· ÙË˜ ·fi ÙÔ ÛÙÚ·ÙÈˆÙÈÎfi Ó·fi ÙÔ˘ ∞Á›Ô˘ ∫ˆÓÛÙ·-

ÓÙ›ÓÔ˘ Ì¤¯ÚÈ ÙÔ ™ÈÓÙÚÈ‚¿ÓÈ. ΔÔ ÙÌ‹Ì· ·˘Ùfi ÙÔ˘ ‰ÚfiÌÔ˘ ÂÓÛˆÌ·ÙÒ-

ıËÎÂ ÛÙÔ ¯ÒÚÔ ÙË˜ ¢∂£ ÙÔ 1960, Ì·˙› ÌÂ ÌÈ· ÏˆÚ›‰· ÁË˜ ÛÙ· ÓfiÙÈ·

ÙÔ˘. ∞Ó¿ÌÂÛ· ÛÙËÓ ÂÈÎÔÓÈ˙fiÌÂÓË Â›ÛÔ‰Ô Î·È ÙË ÛËÌÂÚÈÓ‹ Ï·ÙÂ›· ÙË˜

Ã∞¡£ ˘‹Ú¯Â ÎÂÓ‹ ¤ÎÙ·ÛË, Ô˘ ¯ÚËÛÈÌÔÔÈÔ‡Ù·Ó ÁÈ· ÙË ÛÙ¿ıÌÂ˘-

ÛË ÙˆÓ ·˘ÙÔÎÈÓ‹ÙˆÓ ÙˆÓ ÂÈÛÎÂÙÒÓ.

¢ÈÂıÓ‹˜ ŒÎıÂÛË £ÂÛÛ·ÏÔÓ›ÎË˜(1951)

∏ ÓfiÙÈ· ‡ÏË ÙË˜ ¢∂£

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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏126k

™ÙÔ ÎÂÓÙÚÈÎfi ÂÚ›ÙÂÚÔ ÙË˜ ¢∂£, ÙÔ ¶ÂÚ›ÙÂÚÔ ∂ıÓÈÎ‹˜ ¶·Ú·ÁˆÁ‹˜,

Ô˘ Î·ÙÂ‰·Ê›ÛÙËÎÂ ÙÔ 1960 ÁÈ· Ó· ·ÓÂÁÂÚıÂ› ÙÔ ÎÏÂÈÛÙfi Á‹Â‰Ô

(¶·Ï¤ ÓÙÂ ™ÔÚ), ·ÚÔ˘ÛÈ¿˙ÔÓÙ·Ó Î·Ù¿ ·Ú¿‰ÔÛË Ë ÁÂˆÚÁÈÎ‹

·Ú·ÁˆÁ‹. ◊‰Ë, fiÌˆ˜, ÛÙ· Ù¤ÏË ÙË˜ ‰ÂÎ·ÂÙ›·˜ ÙÔ˘ 1950 Ë ·Ó¿ÁÎË

ÁÈ· ÙËÓ ÚÔ‚ÔÏ‹ ÙˆÓ ·ÁÚÔÙÈÎÒÓ ÚÔ˚fiÓÙˆÓ ÙË˜ ÂÚÈÊ¤ÚÂÈ·˜ Â›¯Â

Ï¤ÔÓ ·Ì‚Ï˘ÓıÂ›. ŒÙÛÈ, ÛÙÔ ÈÛfiÁÂÈÔ ÙÔ˘ ÂÚÈÙ¤ÚÔ˘, Ô˘ ·ÔÙÂÏÔ‡-

ÛÂ «ÙËÓ ÙÂÏÂ˘Ù·›·Ó Ï¤ÍÈÓ ·fi ·fi„Âˆ˜ ÙÂ¯ÓÈÎ‹˜», ÚÔ‚Ï‹ıËÎÂ

–Î·Ù¿ ÙÔ ÙÂÏÂ˘Ù·›Ô ¤ÙÔ˜ ÙË˜ ÏÂÈÙÔ˘ÚÁ›·˜ ÙÔ˘- ÙÔ Î˘‚ÂÚÓËÙÈÎfi ¤ÚÁÔ

ÙË˜ ÂÚÈfi‰Ô˘ 1955-1960. «∏ ÚÔ‚ÔÏ‹ ·˘Ù‹ ÂÈÙ˘Á¯¿ÓÂÙ·È Î·Ù¿

Ì›·Ó ‰È·ÎÚÈÙÈÎ‹Ó Î·È ÔÚıÔÏÔÁÈÎ‹Ó ÛÂÈÚ¿Ó ÌÂ Î‡ÚÈÔÓ ¯·Ú·ÎÙËÚÈÛÙÈÎfiÓ:

∏ ∂ÏÏ¿˜ ÙË˜ ÃıÂ˜, Ë ∂ÏÏ¿˜ ÙË˜ ™‹ÌÂÚÔÓ, Ë ∂ÏÏ¿˜ ÙË˜ ∞‡ÚÈÔÓ»,

ÛËÌÂÈÒÓÂÈ Ô‰ËÁfi˜ ÙË˜ ÂÔ¯‹˜. ∏ Ì¤ıÔ‰Ô˜ ÙË˜ «ÚÔ‚ÔÏ‹˜ ÙˆÓ ¿ÛË˜

Ê‡ÛÂˆ˜ ÂÎıÂÌ¿ÙˆÓ» ‹Ù·Ó «Ó¤·»: «…Û˘ÌÏËÚÔ‡Ù·È ÌÂ Û˘Á¯ÚÔÓÈ-

ÛÌfiÓ Î·È ÂÓ·ÚÌfiÓÈÛÈÓ ‹¯Ô˘». Δ· ÛÎ·ÏÔ¿ÙÈ· Â›¯·Ó ·Ê·ÈÚÂıÂ› Î·È

ÙÔÔıÂÙ‹ıËÎ·Ó Ú¿ÌÂ˜, ÂÓÒ ÌÂÁ¿ÏÂ˜ ÂÈÙÔ›¯ÈÂ˜ ˙ˆÁÚ·ÊÈÎ¤˜ Û˘Óı¤-

ÛÂÈ˜ Î¿Ï˘Ù·Ó ÙÔ ÂÛˆÙÂÚÈÎfi ÙËÓ ÚfiÛÔ„‹ ÙÔ˘ ÎÙÈÚ›Ô˘, Ô˘ ÌÂÙ¿ ·fi

ÌÂÚÈÎÔ‡˜ Ì‹ÓÂ˜ Î·ÙÂ‰·Ê›ÛÙËÎÂ. √È ‰‡Ô ÊˆÙÔÁÚ·Ê›Â˜ ÂÌÊ·Ó›˙Ô˘Ó

ÙÔÓ ÙÚfiÔ ÌÂ ÙÔÓ ÔÔ›Ô ·ÚÔ˘ÛÈ¿ÛÙËÎ·Ó Ù· ÂÈÙÂ‡ÁÌ·Ù· ÛÙË Ú·‰ÈÔ-

ÊˆÓ›· Î·È ÙËÓ ÂÎ·›‰Â˘ÛË.

¶ÚÔ‚ÔÏ‹ Î˘‚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


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 (ÌÂ Ó¤· ÙfiÙÂ ÔÏ˘ÒÚÔÊ· ÎÙ›ÚÈ·:

¿Óˆ ·ÚÈÛÙÂÚ¿) Î·È ÙÔÓ ÚÔÛÊ˘ÁÈÎfi Û˘ÓÔÈÎÈÛÌfi ÙË˜ ∞Á›·˜ ºˆÙÂÈÓ‹˜

(ÌÔÓÒÚÔÊ· ÌÂ ·˘Ï¤˜ Î·È ‰¤ÓÙÚ·, ¿Óˆ ‰ÂÍÈ¿), Ë ¢∂£ ÛËÌÂ›ˆÓÂ ÌÂÁ¿-

ÏË ÂÈÙ˘¯›·, ·Ó ÎÚ›ÓÂÈ Î·ÓÂ›˜ ·fi ÙÔÓ ·ÚÈıÌfi ÙˆÓ ÂÈÛÎÂÙÒÓ ÙË˜. ΔÔ

1965 ¤ÊÙ·ÛÂ ÙÔ ˙ÂÓ›ı ÛÙËÓ ÈÛÙÔÚ›· ÙË˜: 1.623.488 ¿ÙÔÌ· Ï‹Úˆ-

Û·Ó ÂÈÛÈÙ‹ÚÈÔ ÁÈ· Ó· ÂÚ¿ÛÔ˘Ó ÙÈ˜ ‡ÏÂ˜ ÙË˜. √ Î‡ÚÈÔ˜ ÂÎıÂÛÈ·Îfi˜

fiÁÎÔ˜ ÚÔ¤Ú¯ÔÓÙ·Ó ·fi ÔÏ˘ÏËıÂ›˜ È‰ÈˆÙÈÎÔ‡˜ ÂÎıÂÛÈ·ÎÔ›

¯ÒÚÔ˘˜, Ô˘ Î·ÙÂ›¯·Ó –fiˆ˜ Ê·›ÓÂÙ·È ÛÙË ÊˆÙÔÁÚ·Ê›·- ÙÔ ÎÂÓÙÚÈ-

Îfi ÙÌ‹Ì· ÙË˜. ªÂ ‚¿ÛË ÙÔ˘˜ ¯ÒÚÔ˘˜ ·˘ÙÔ‡˜ ÂÈ¯ÂÈÚÂ›Ù·È Î·È Ë ¯ÚÔ-

ÓÔÏfiÁËÛË ÙË˜ ÊˆÙÔÁÚ·Ê›·˜ ÙÔ ¤ÙÔ˜ 1964.

¢ÈÂıÓ‹˜ ŒÎıÂÛË £ÂÛÛ·ÏÔÓ›ÎË˜,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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏130k

ΔÔ 1968, ÂÎÙfi˜ ·fi ¤ÓÙÂ Ó¤· È‰ÈˆÙÈÎ¿ ÂÚ›ÙÂÚ·, ·ÔÂÚ·ÙÒıËÎÂ

Î·È ÙÔ «∂ÌÔÚÈÎfi ∫¤ÓÙÚÔ» ÙË˜ ¢∂£ (Ó˘Ó ÂÚ›ÙÂÚÔ 8). ∞ÚÈÛÙÂÚ¿, Ë

Ô‰fi˜ ∞ÁÁÂÏ¿ÎË. ™ÙÔ ¿Óˆ Ì¤ÚÔ˜ ÙÔ˘ ÂÎıÂÛÈ·ÎÔ‡ ¯ÒÚÔ˘ Ù· ÁÚ·ÊÂ›·

‰ÈÔÈÎ‹ÛÂˆ˜ Î·È ‰ÂÍÈ¿ ÙÔ˘ ÙÔ ÂÚ›ÙÂÚÔ 1. μÔÚÂÈfiÙÂÚ·, Ë ·ÓÂÈÛÙË-

ÌÈÔ‡ÔÏË. ΔÔ ÂfiÌÂÓÔ ¤ÙÔ˜ Ô ÂÎıÂÛÈ·Îfi˜ ¯ÒÚÔ˜ ı· ¤·ÈÚÓÂ Û¯Â‰fiÓ

ÙËÓ ÔÚÈÛÙÈÎ‹ ÌÔÚÊ‹ ÙÔ˘.

¢ÈÂıÓ‹˜ ŒÎıÂÛË £ÂÛÛ·ÏÔÓ›ÎË˜,1969

°ÂÓÈÎ‹ ¿Ô„È˜ ÙË˜ ∂Îı¤ÛÂˆ˜, 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.


An overall view of the International TradeFair, 19.9.1968

¶ ∞ ¡ ∂ ¶ π ™ Δ ∏ ª π √ & ¢ ∂ £54

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏132k

∞Ó Î·È ¯·ÚÙÔÁÚ·ÊÈÎ¿ Ô ‰ÚfiÌÔ˜ ÂÌÊ·Ó›˙ÂÙ·È ·fi ÙÔ 1898, Ë Ô‰fi˜

∞ÁÁÂÏ¿ÎË ‰È·ÌÔÚÊÒıËÎÂ ÌfiÏÈ˜ ÛÙË ‰ÂÎ·ÂÙ›· ÙÔ˘ 1960. ª¤¯ÚÈ Ù·

Ù¤ÏË ÙÔ˘ 19Ô˘ ·ÈÒÓ·, ÙËÓ ÂÚÈÔ¯‹ ‰È¤Û¯È˙Â ¯Â›Ì·ÚÚÔ˜, Ô˘ Î·Ù¤‚·È-

ÓÂ ·fi ÙÔ ‚ÔÚÚ¿ Î·È Û˘Ó¤¯È˙Â ÚÔ˜ ÙË ı¿Ï·ÛÛ·. ∫·Ù¿ Ì‹ÎÔ˜ ÙÔ˘

¯ÂÈÌ¿ÚÚÔ˘ ˘‹Ú¯·Ó Ï·Ù¿ÓÈ·, ÛÙ· ÔÔ›· Á›ÓÔÓÙ·Ó ı·Ó·ÙÈÎ¤˜ ÂÎÙÂ-

Ï¤ÛÂÈ˜. ™ÙË ‰È¿ÚÎÂÈ· ÙÔ˘ ÚÒÙÔ˘ ·ÁÎÔÛÌ›Ô˘ ÔÏ¤ÌÔ˘, Ô ¯ÒÚÔ˜

¯ÚËÛÈÌÔÔÈ‹ıËÎÂ ÁÈ· ·Ôı‹ÎÂ˘ÛË Î·È ÛÙÚ·ÙˆÓÈÛÌfi. ™ÙÔ ‰˘ÙÈÎfi

¿ÎÚÔ ÙË˜ ÛËÌÂÚÈÓ‹˜ ¢∂£, ÚÔ˜ ÙËÓ Ô‰fi ∞ÁÁÂÏ¿ÎË, Î·Ù·ÛÎÂ˘¿ÛıË-

Î·Ó Í‡ÏÈÓÂ˜ ·Ú¿ÁÎÂ˜ ÁÈ· Ó· ÛÙÂÁ·ÛÙÔ‡Ó ˘ÚÔ·ıÂ›˜. ªfiÏÈ˜ ÛÙË

‰ÂÎ·ÂÙ›· ÙÔ˘ 1950 ¯·Ú¿¯ıËÎÂ ÙÔ ‚fiÚÂÈÔ ÙÌ‹Ì· ÙË˜ Ô‰Ô‡. ºˆÙÔÁÚ·-

Ê›Â˜ ÙË˜ ÂÔ¯‹˜ Ì·˜ ‰Â›¯ÓÔ˘Ó fiÙÈ Á›ÓÔÓÙ·Ó ÂÎÂ› ¯ˆÌ·ÙÔ˘ÚÁÈÎ¤˜

ÂÚÁ·Û›Â˜ ÁÈ· ÙË ‰È·ÌfiÚÊˆÛË ÙÔ˘ Â‰¿ÊÔ˘˜ Î·È ÙË ‰ÈÂ˘ı¤ÙËÛË ÙÔ˘

¯ÂÈÌ¿ÚÚÔ˘, ÚÔÎÂÈÌ¤ÓÔ˘ Ó· ÂÊ·ÚÌÔÛÙÂ› ÙÔ ÔÏÂÔ‰ÔÌÈÎfi Û¯¤‰ÈÔ

(1959). ∏ ÊˆÙÔÁÚ·Ê›· ÙÔ˘ 1965 Ì·˜ ‰Â›¯ÓÂÈ ¤Ó·Ó ÂÓÙÂÏÒ˜ Ó¤Ô ‰Úfi-

ÌÔ, ÌÂ Î·ÈÓÔ‡ÚÁÈ· ÎÙ›ÚÈ·. ∏ Ô‰fi˜ ¢ÂÛÂÚ¤ (ÙÔ ·Ó·ÙÔÏÈÎfi ÙÌ‹Ì· ÙË˜

ÔÔ›·˜ Û˘Ó·ÓÙ‹Û·ÌÂ ÛÂ ÚÔËÁÔ‡ÌÂÓÂ˜ Ï‹„ÂÈ˜) Û˘ÓÂ¯›˙ÂÙ·È Û¯Â‰fiÓ

·Ú¿ÏÏËÏ· ÌÂ ÙËÓ Ô‰fi ∞ÁÁÂÏ¿ÎË (›Ûˆ ·fi ÙÈ˜ ÔÏ˘Î·ÙÔÈÎ›Â˜).

√‰fi˜ ∞ÁÁÂÏ¿ÎË, 1965

11.1.1965. ∏ Ô‰fi˜ ∞ÁÁÂÏ¿ÎË ¢ÂÛÂÚ¤, Ì›· ·fi Ù·˜ ˆÚ·›·˜ ÏÂˆÊfiÚÔ˘˜ ÙË˜ ÂÏÏËÓÈÎ‹˜ Û˘ÌÚˆÙÂ˘Ô‡ÛË˜

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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏134k

ΔÔ ·Ú¯·ÈÔÏÔÁÈÎfi ÌÔ˘ÛÂ›Ô ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜ È‰Ú‡ıËÎÂ ÙÔ 1925 Î·È

ÛÙÂÁ¿ÛÙËÎÂ «ÚÔÛˆÚÈÓ¿» ÛÙÔ «Ó¤Ô Ù¤ÌÂÓÔ˜» (°ÂÓ› Δ˙·Ì›). ŒÎÙÔÙÂ

ÍÂÎ›ÓËÛÂ Ë ·Ó·˙‹ÙËÛË ÙÔ˘ Î·Ù¿ÏÏËÏÔ˘ ¯ÒÚÔ˘ ÁÈ· ÙËÓ ÔÚÈÛÙÈÎ‹ ÛÙ¤-

Á·Û‹ ÙÔ˘. ΔÔ 1949 ·Ú·¯ˆÚ‹ıËÎÂ ÔÈÎfiÂ‰Ô 35 ÛÙÚÂÌÌ¿ÙˆÓ, ·fi

ÙËÓ ·ÓÙ·ÏÏ¿ÍÈÌË ÂÚÈÔ˘Û›·, ÚÔ˜ ÙËÓ Ô‰fi ∞ÁÁÂÏ¿ÎË. ΔÔ ¯ÒÚÔ ·˘ÙfiÓ

fiÌˆ˜ ‰ÈÂÎ‰ÈÎÔ‡ÛÂ Î·È Ë ¢∂£, ÚÔÎÂÈÌ¤ÓÔ˘ Ó· ÂÂÎÙÂ›ÓÂÈ ÙÈ˜ ÂÁÎ·Ù·-

ÛÙ¿ÛÂÈ˜ ÙË˜. ∂Î‰ËÏÒıËÎÂ, ¤ÙÛÈ, ÈÛ¯˘Ú‹ ÙÔÈÎ‹ ‰È¤ÓÂÍË, Ë ÔÔ›· ÍÂÂ-

Ú¿ÛÙËÎÂ ÙÔ 1956, fiÙ·Ó ÙÔ ÀÔ˘ÚÁÂ›Ô ∂ıÓÈÎ‹˜ ∞Ì‡ÓË˜ ·Ú·¯ÒÚËÛÂ

ÙÌ‹Ì· ÙÔ˘ ¶Â‰›Ô˘ ÙÔ˘ ÕÚÂˆ˜ (12 ÛÙÚ¤ÌÌ·Ù·) ÁÈ· Ó· ÔÈÎÔ‰ÔÌËıÂ› ÙÔ

·Ú¯·ÈÔÏÔÁÈÎfi ÌÔ˘ÛÂ›Ô. ∏ ·Ó¤ÁÂÚÛË Ú·ÁÌ·ÙÔÔÈ‹ıËÎÂ ÙÔ 1961 Î·È

ÔÏÔÎÏËÚÒıËÎÂ ÙÔ 1962. Δ· Û¯¤‰È· ÂÎfiÓËÛÂ Ô ·Ú¯ÈÙ¤ÎÙˆÓ ¶¿ÙÚÔ-

ÎÏÔ˜ ∫·Ú·ÓÙÈÓfi˜, ÌÂ ¿ÌÂÛÂ˜ ·Ó·ÊÔÚ¤˜ ÛÙÔ ·Ú¯·›Ô ÂÏÏËÓÈÎfi Û›ÙÈ,

ÌÂ Ù· ÂÛˆÙÂÚÈÎ¿ ·›ıÚÈ·. √ ÂÁÎ·ÈÓÈ·ÛÌfi˜ Ú·ÁÌ·ÙÔÔÈ‹ıËÎÂ ÙÚÂÈ˜

Ì¤ÚÂ˜ ÌÂÙ¿ ·fi ÙË ÊˆÙÔÁÚ·ÊÈÎ‹ Ï‹„Ë, ÛÙÈ˜ 27.10.1962, ÌÂ ·ÊÔÚ-

Ì‹ ÙËÓ ÂÓÙËÎÔÛÙ‹ Â¤ÙÂÈÔ ·fi ÙËÓ ·ÂÏÂ˘ı¤ÚˆÛË ÙË˜ £ÂÛÛ·ÏÔÓ›-

ÎË˜.

∞Ú¯·ÈÔÏÔÁÈÎfi ÌÔ˘ÛÂ›Ô, ·Ó·ÙÔÏÈÎ‹ Ù¤Ú˘Á·, 1962

ΔÔ Ó¤ÔÓ ·Ú¯·ÈÔÏÔÁÈÎfiÓ ÌÔ˘ÛÂ›Ô ÙË˜ fiÏÂˆ˜ 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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏136k

™ÙÔ ·Ú¯·ÈÔÏÔÁÈÎfi ÌÔ˘ÛÂ›Ô ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜ Ê˘Ï¿ÛÛÂÙ·È Ë ÂÚ›ÊË-

ÌË Ï¿ÚÓ·Î· 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› ıÂˆÚÔ‡Ó ˆ˜

ÓÂÎÚÈÎfi Ù¿ÊÔ ÙÔ˘ ‚·ÛÈÏÈ¿ ºÈÏ›Ô˘. ∏ Ï¿ÚÓ·Î· ÎfiÛÌËÛÂ ÙÔ ÂÍÒ-

Ê˘ÏÏÔ ÙÔ˘ Ô‰ËÁÔ‡ ÙÔ˘ ·Ú¯·ÈÔÏÔÁÈÎÔ‡ ÌÔ˘ÛÂ›Ô˘, ÙÔÓ ÔÔ›Ô ÂÍ¤‰ˆÛÂ

ÙÔ 1981 Ô ·Â›ÌÓËÛÙÔ˜ ª·ÓfiÏË˜ ∞Ó‰ÚfiÓÈÎÔ˜.

∏ Ï¿ÚÓ·Î·

§¿ÚÓ·Í ¯Ú˘Û‹ Ô˘ ÂÚÈÂ›¯Â Ù· ÔÛÙ¿ ÙÔ˘ ÓÂÎÚÔ‡ ‚·ÛÈÏÈ¿. ΔÔ ¯Ú˘Ûfi ÛÙÂÊ¿ÓÈ Ô˘ ÂÈÎÔÓ›˙ÂÙ·È ·fi ¿Óˆ, ‚Ú¤ıËÎÂ Â›ÛË˜Ì¤Û· ÛÙË Ï¿ÚÓ·Î·. ∞ÔÙÂÏÂ›Ù·È ·fi Ê‡ÏÏ· 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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏138k

∏ ÔÏÔÎÏ‹ÚˆÛË ÙÔ˘ ·Ú¯·ÈÔÏÔÁÈÎÔ‡ ÌÔ˘ÛÂ›Ô˘, ·ÏÏ¿ Î·È Ë Â¤ÎÙ·ÛË

ÙË˜ ¢∂£ ÚÔ˜ Ù· ÓÔÙÈÔ·Ó·ÙÔÏÈÎ¿, ‰ËÌÈÔ‡ÚÁËÛ·Ó ÌÈ· Ó¤· Ú˘ÌÔÙÔÌÈ-

Î‹ Ú·ÁÌ·ÙÈÎfiÙËÙ·. ŒÙÛÈ, ¤ÚÂÂ Ó· Î·Ù·ÚÁËıÔ‡Ó ÙÌ‹Ì·Ù· ‰ÚfiÌˆÓ

Î·È Ó· ‰ËÌÈÔ˘ÚÁËıÔ‡Ó Ó¤·, ÌÂ ·ÔÙ¤ÏÂÛÌ· ÛÙÔÓ ¿ÏÏÔÙÂ ·Î¿Ï˘ÙÔ

¯ÒÚÔ Ô˘ ˘‹Ú¯Â ÌÚÔÛÙ¿ ÛÙË Ã∞¡£ Ó· ‰È·ÌÔÚÊˆıÂ› ÌÈ· Ï·ÙÂ›·,

Ô˘ ÚÔ‚¿ÏÂÈ ÙËÓ ÎÂÓÙÚÈÎ‹ Â›ÛÔ‰Ô ÙË˜ ¢∂£ Î·È ÙÔ ·Ú¯·ÈÔÏÔÁÈÎfi

ÌÔ˘ÛÂ›Ô. ™’ ·˘Ù‹Ó Û˘Ì‚¿ÏÏÔ˘Ó ÔÈ Ô‰Ô›: ΔÛÈÌÈÛÎ‹, ∞ÁÁÂÏ¿ÎË, §ÂˆÊfi-

ÚÔ˜ ™ÙÚ·ÙÔ‡, ¢ÂÛÂÚ¤ Î·È ¡ÈÎÔÏ¿Ô˘ °ÂÚÌ·ÓÔ‡.

∏ Ï·ÙÂ›· ÙË˜ Ã∞¡£ ÌÂ ÙÔ ·Ú¯·ÈÔÏÔÁÈÎfi ÌÔ˘ÛÂ›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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏140k

∏ ‰ËÌÈÔ˘ÚÁ›· ÎÏÂÈÛÙÔ‡ ÁË¤‰Ô˘ Ì¿ÛÎÂÙ ‹Ù·Ó ¤Ó· ·fi ·ÈÙ‹Ì·Ù· ÙË˜

ÌÂÙ·ÔÏÂÌÈÎ‹˜ £ÂÛÛ·ÏÔÓ›ÎË˜. ∏ ÔÈÎÔ‰fiÌËÛ‹ ÙÔ˘ ÛÙÔ ¯ÒÚÔ ÙË˜

¢∂£, ÌÂ ÙËÓ Î·Ù¿ÚÁËÛË ÙˆÓ ÙÚÈÒÓ ·Ï·ÈÔÙ¤ÚˆÓ ÂÚÈÙ¤ÚˆÓ ÙË˜,

‰È‹ÚÎÂÛÂ ·fi ÙÔ 1960 ˆ˜ ÙÔ 1964. ΔÔ 1964 ‰ÈÔÚÁ·ÓÒıËÎÂ –ÁÈ·

ÚÒÙË ÊÔÚ¿ ÛÙÔ ¶·Ï¤ ÓÙÂ ™ÔÚ- ÙÔ ÙÚ›ÙÔ ºÂÛÙÈ‚¿Ï ∂Ï·ÊÚÔ‡ ∂ÏÏË-

ÓÈÎÔ‡ ΔÚ·ÁÔ˘‰ÈÔ‡, ÌÂ 25.000 ·ÎÚÔ·Ù¤˜. ΔÔ 1966, Ï›ÁÂ˜ Ì¤ÚÂ˜ ÌÂÙ¿

·fi ÙË Ï‹„Ë ÙË˜ ÊˆÙÔÁÚ·Ê›·˜, Ú·ÁÌ·ÙÔÔÈ‹ıËÎÂ ÙÔ ¤ÌÙÔ

ºÂÛÙÈ‚¿Ï ∂Ï·ÊÚÔ‡ ∂ÏÏËÓÈÎÔ‡ ΔÚ·ÁÔ˘‰ÈÔ‡. ¢È·ÁˆÓ›ÛıËÎ·Ó 149

Û˘Óı¤ÛÂÈ˜. √ °. ª·˘ÚÔÌÔ˘ÛÙ¿ÎË˜ ¤Ï·‚Â ÙÔ ÚÒÙÔ ‚Ú·‚Â›Ô, ÌÂ ÙÔ

ÙÚ·ÁÔ‡‰È «ΔÔ ·ÓËÁ‡ÚÈ». ΔÔ ‰Â‡ÙÂÚÔ ‚Ú·‚Â›Ô ¤Ï·‚Â Ô ∑·Î π·Îˆ‚›-

‰Ë˜ («¢ÒÛÂ ÌÔ˘») Î·È ÙÔ ÙÚ›ÙÔ Ô ¶. ∫·„ÔÎ·‚¿‰Ë˜ («ΔÔ ÔÙ¿ÌÈ»).

ΔÔ ÎÏÂÈÛÙfi Á‹Â‰Ô ÂÙÔÈÌ¿˙ÂÙ·È ÁÈ· ÙÔ ÊÂÛÙÈ‚¿Ï ÙÚ·ÁÔ˘‰ÈÔ‡, 1966

¶·Ï·› ¡ÙÂ ™ÔÚ £ÂÛÛ·ÏÔÓ›ÎË˜, 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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏142k

ΔÔ 1970 ÏÂÈÙÔ‡ÚÁËÛÂ Ï‹Úˆ˜ Ô ‡ÚÁÔ˜ ÙÔ˘ √Δ∂, ·Ú¯ÈÙÂÎÙÔÓÈÎfi

¤ÚÁÔ ÙÔ˘ ∞. ¢. ∞Ó·ÛÙ·ÛÈ¿‰Ë. ∫·Ù¤Ï·‚Â ÙË ı¤ÛË ÙÔ˘ ÏÔ‡Ó· ·ÚÎ (Ô˘

ÂÌÊ·Ó›˙ÂÙ·È ÛÙÔ ·ÚÈÛÙÂÚfi ÙÌ‹Ì· ÙË˜ Ï‹„Ë˜ ÙÔ˘ 1964). ŒÎÙÔÙÂ, Ô

‡ÚÁÔ˜ ·ÔÙ¤ÏÂÛÂ ¯·Ú·ÎÙËÚÈÛÙÈÎfi ÁÓÒÚÈÛÌ· ÙË˜ ¢∂£. ™ÙÔÓ ¤ÌÙÔ

fiÚÔÊÔ ÙÔ˘ ‡ÚÁÔ˘, Ô √Δ∂ Î·È Ë ¢∂£ Â›¯·Ó ‰ËÌÈÔ˘ÚÁ‹ÛÂÈ ÎÔÈÓfi

ÙËÏÂÔÙÈÎfi ÛÙ·ıÌfi, Ô ÔÔ›Ô˜ ÂÍ¤ÂÌÂ Î·ı’ fiÏË ÙË˜ ‰È¿ÚÎÂÈ· ÙË˜

‰ÈÔÚÁ¿ÓˆÛË˜. ΔÔ ÎÔÈÓfi ·Ú·ÎÔÏÔ˘ıÔ‡ÛÂ ·fi ‰¤ÎÙÂ˜, Ô˘ ‹Ù·Ó

·Ó·ÚÙËÌ¤ÓÔÈ ÛÙÔ˘˜ ‰ÚfiÌÔ˘˜ ÙË˜ ¤ÎıÂÛË˜. ∏ ÂÏÏËÓÈÎ‹ ‚ÈÔÙÂ¯Ó›·, ÌÂ

Î˘ÚÈfiÙÂÚ· ÂÎı¤Ì·Ù· Ù· ¤ÈÏ·, Ù· ¯·ÏÈ¿ Î·È Ù· ·È¯Ó›‰È·, ·ÚÔ˘ÛÈ¿-

ÛıËÎÂ Î·Ù¿ ÙÔÌÂ›˜ ÛÙÔ Ó¤Ô ÎÙ›ÚÈÔ °ã (·ÚÈÛÙÂÚ¿).

¢∂£, 1970

™ÂÙ¤Ì‚ÚÈÔ˜ 1970, 35Ë ¢ÈÂıÓ‹˜ ŒÎıÂÛÈ˜ £ÂÛÛ·ÏÔÓ›ÎË˜. ∂È˜ 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).


September 1970, 35th ThessalonikiInternational Fair. The TelecommunicationsCompany tower rises in the middle

¶ ∞ ¡ ∂ ¶ π ™ Δ ∏ ª π √ & ¢ ∂ £60

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏144k

∏ Ï‹„Ë ¤ÁÈÓÂ ·fi ÎÙ›ÚÈÔ ÙË˜ Ô‰Ô‡ ∂ÁÓ·Ù›·˜. √ ÊˆÙÔÁÚ¿ÊÔ˜ ÛÎfi-

Â˘ÛÂ ÛÙËÓ ‡ÏË ÙË˜ Ï·ÙÂ›·˜ ™ÈÓÙÚÈ‚·Ó›Ô˘, ÌÂ ¿ÍÔÓ· ÙËÓ ÂÁÎ¿ÚÛÈ·

ÏÂˆÊfiÚÔ ÙË˜ ¢∂£. ¢ÂÍÈ¿, Ô ‡ÚÁÔ˜ ÙÔ˘ √Δ∂. ∏ ÊˆÙ·ÁÒÁËÛË –ÛÂ

ÌÈ· fiÏË Ô˘ Â› ‰ÂÎ·ÂÙ›Â˜ ‰ÂÓ ‰È¤ıÂÙÂ Â¿ÚÎÂÈ· ËÏÂÎÙÚÈÎÔ‡ ÚÂ‡Ì·-

ÙÔ˜- ·ÔÙ¤ÏÂÛÂ ÛÙÔÈ¯Â›Ô ÚÔ‚ÔÏ‹˜ ÙË˜ ¢∂£ ·fi ÙÔ ÚÒÙÔ ¤ÙÔ˜ ÙË˜

ÏÂÈÙÔ˘ÚÁ›·˜ ÙË˜. ∞Ó Î·È Ë Ï·ÙÂ›· Ô˘ ·ÂÈÎÔÓ›˙ÂÙ·È ÛÂ ÚÒÙÔ Ï¿-

ÓÔ ÔÓÔÌ¿˙ÂÙ·È «™˘ÓÙÚÈ‚·Ó›Ô˘», ÙËÓ ÂÔ¯‹ ÂÎÂ›ÓË ÙÔ ÛÈÓÙÚÈ‚¿ÓÈ (ÎÙ›-

ÛÌ· ÙÔ˘ 1890) Â›¯Â ·ÔÛ˘Ó·ÚÌÔÏÔÁËıÂ›. ∂·Ó·ÙÔÔıÂÙ‹ıËÎÂ ÌÂÚÈ-

Î¿ ¯ÚfiÓÈ· ·ÚÁfiÙÂÚ·. Ÿˆ˜ Î·È ÔÈ ¿ÏÏÂ˜ Ï·ÙÂ›Â˜ Ô˘ ‰È·ÌÔÚÊÒıË-

Î·Ó ·Ó¿ÌÂÛ· ·fi ÙË ¢∂£ Î·È ÙÔ §Â˘Îfi ¶‡ÚÁÔ ÛÙÈ˜ ‰ÂÎ·ÂÙ›Â˜ ÙÔ˘

1950 Î·È ÙÔ˘ 1960, ¤ÙÛÈ Î·È Ë Ï·ÙÂ›· ™ÈÓÙÚÈ‚·Ó›Ô˘ Â›¯Â ˘Ô¯ÚÂˆÙÈ-

Î‹ Î˘ÎÏÈÎ‹ ÔÚÂ›· ÙˆÓ ·˘ÙÔÎÈÓ‹ÙˆÓ.

¢∂£ 1972

ÕÔ„È˜ 37Ë˜ ŒÎıÂÛË˜ £ÂÛÛ·ÏÔÓ›ÎË˜

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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏146k

∞ÂÈÎÔÓ›˙ÂÙ·È Ë ÂÍˆÙÂÚÈÎ‹ fi„Ë ÙË˜ ¢∂£ ·fi ÙËÓ ÏÂ˘Ú¿ ÙË˜ Ï·ÙÂ›-

·˜ ™ÈÓÙÚÈ‚·Ó›Ô˘. √È ÛËÌ·›Â˜ ÙˆÓ 21 ¯ˆÚÒÓ Ô˘ Û˘ÌÌÂÙÂ›¯·Ó ÂÎÂ›ÓË

ÙË ¯ÚÔÓÈ¿ ÌÂ Â›ÛËÌÔ ÎÚ·ÙÈÎfi ÂÚ›ÙÂÚÔ (‰ÈfiÙÈ ÔÏÏ¤˜ Í¤ÓÂ˜ Û˘ÌÌÂ-

ÙÔ¯¤˜ ‹Ù·Ó ·ÓÂ›ÛËÌÂ˜ ) ¤¯Ô˘Ó ÙÔÔıÂÙËıÂ› Â› ÙË˜ Ï·ÙÂ›·˜ ÙË˜

Ã∞¡£. ΔÔ 1975 Ë ‰È¿ÚÎÂÈ· ÙË˜ ¤ÎıÂÛË˜ ÂÚÈÔÚ›ÛÙËÎÂ ÛÂ ‰‡Ô Â‚‰Ô-

Ì¿‰Â˜, ·fi ÙÈ˜ ÙÚÂÈ˜ Ô˘ ‰È·ÚÎÔ‡ÛÂ. ∏ Ï‹„Ë Ú·ÁÌ·ÙÔÔÈ‹ıËÎÂ

ËÌ¤Ú· ™¿‚‚·ÙÔ Î·È- fiˆ˜ ‰Â›¯ÓÔ˘Ó ÔÈ ÛÎÈ¤˜- ·ÔÁÂ˘Ì·ÙÈÓ‹ ÒÚ·.

¢∂£, 1975

™ÙÈÁÌÈfiÙ˘ÔÓ ·fi Ù· ÂÁÎ·›ÓÈ· ÙË˜ 40‹˜ ¢ÈÂıÓÔ‡˜ ∂Îı¤ÛÂˆ˜ £ÂÛÛ·ÏÔÓ›ÎË˜, 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.


A snapshot from the opening day of the 40thThessaloniki International Fair, 30.8.1975

¶ ∞ ¡ ∂ ¶ π ™ Δ ∏ ª π √ & ¢ ∂ £62

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏148k

ΔÔ 1980, ÂÓ fi„ÂÈ ÙË˜ Â›ÛËÌË˜ ¤ÓÙ·ÍË˜ ÙË˜ ∂ÏÏ¿‰·˜ ÛÙËÓ ∂˘Úˆ-

·˚Î‹ ∫ÔÈÓfiÙËÙ·, fiˆ˜ ÔÓÔÌ·˙fiÙ·Ó ÙfiÙÂ Ë ∂˘Úˆ·˚Î‹ ŒÓˆÛË, ÙÔ

ÁÚ·ÊÂ›Ô ÏËÚÔÊÔÚÈÒÓ Ô˘ ‰È·ÙËÚÔ‡ÛÂ Ë ∫ÔÈÓfiÙËÙ· ÛÙÈ˜ ÂÙ‹ÛÈÂ˜

¢∂£ ·Ó·‚·ıÌ›ÛÙËÎÂ. ∏ ∫ÔÈÓfiÙËÙ· ·ÚÔ˘ÛÈ¿ÛÙËÎÂ ÛÂ ¤Ó·Ó ÔÏfiÎÏË-

ÚÔ fiÚÔÊÔ ÙÔ˘ ÂÚÈÙ¤ÚÔ˘ 8. ∞˜ ÛËÌÂÈˆıÂ› fiÙÈ Î·È Ù· ÂÓÓ¤· ÏÔÈ¿

Ì¤ÏË ÙË˜ ÎÔÈÓfiÙËÙ·˜ ¤Ï·‚·Ó Ì¤ÚÔ˜ ÛÙË ¢∂£ ÙÔ˘ 1980.

ΔÔ ÂÚ›ÙÂÚÔ 8 ÔÈÎÔ‰ÔÌ‹ıËÎÂ ÙÔ 1968 ÛÂ Û¯¤‰È· ÙÂÛÛ¿ÚˆÓ Î·ıË-

ÁËÙÒÓ ÙÔ˘ ÔÏ˘ÙÂ¯ÓÂ›Ô˘ ÙÔ˘ ∞¶£, Î·È ÔÓÔÌ¿ÛÙËÎÂ ·Ú¯ÈÎÒ˜ «∂ÌÔ-

ÚÈÎfi ∫¤ÓÙÚÔ».

¶ÂÚ›ÙÂÚÔ 8, 1980

¶ÂÚ›ÙÂÚÔÓ ∂√∫- ∫Ú¿ÙË Ì¤ÏË ÙË˜ ∂˘Úˆ·˚Î‹˜ ∫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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏150k

∫ÂÎÏÈÌ¤ÓË Ï‹„Ë ·fi ·¤ÚÔ˜. ∏ Ô‰fi˜ ∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘ ‰È·Û¯›˙ÂÈ ÙËÓ

ÂÈÎfiÓ· ·fi ·ÚÈÛÙÂÚ¿ ÚÔ˜ Ù· ‰ÂÍÈ¿, ÌÂ ÁˆÓ›· 45 ÌÔÈÚÒÓ ÂÚ›Ô˘.

¶¿Óˆ ·fi ÙËÓ Ô‰fi ∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘ ·ÏÒÓÂÙ·È Ë Û˘ÓÔÈÎ›· ÙˆÓ

™·Ú¿ÓÙ· ∂ÎÎÏËÛÈÒÓ, Ë ÔÔ›· Î·ÙÂ‚·›ÓÂÈ ÚÔ˜ Ù· ‰˘ÙÈÎ¿ ÛÙÔ Û˘ÓÔÈ-

ÎÈÛÌfi ΔÛ·Ï‰¿ÚË, fiÔ˘ Î·È ÔÈ ÊÔÈÙËÙÈÎ¤˜ ÂÛÙ›Â˜. ∫¿Ùˆ ·fi ÙËÓ Ô‰fi

∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘ ( ÛÂ ÚÒÙÔ Ï¿ÓÔ) Ë º˘ÛÈÎÔÌ·ıËÌ·ÙÈÎ‹ Û¯ÔÏ‹.

¶›Ûˆ ÙË˜ Ë °ÂˆÔÓÔ‰·ÛÔÏÔÁÈÎ‹ Î·È ·ÎÔÏÔ˘ıÂ› -˘fi ·Ó¤ÁÂÚÛË- Ë

∫ÙËÓÈ·ÙÚÈÎ‹. ŒÂÙ·È, ÚÔ˜ ÙÔ ‚¿ıÔ˜ (Î·È ˘fi ·Ó¤ÁÂÚÛË Â›ÛË˜) Ë

π·ÙÚÈÎ‹. ¶ÏËÓ ÙË˜ ÚÒÙË˜, fiÏÂ˜ ÔÈ ÏÔÈ¤˜ Û¯ÔÏ¤˜ ‹Ù·Ó Ó¤· ÎÙ›ÛÌ·-

Ù·. ™Ù· ‰ÂÍÈ¿ ÙË˜ º˘ÛÈÎÔÌ·ıËÌ·ÙÈÎ‹˜, ÙÔ ÃËÌÂ›Ô, Â›ÛË˜ Ó¤Ô ÎÙ›ÛÌ·.

∞Ó Î·È Ë ÊˆÙÔÁÚ·Ê›· ‰›ÓÂÈ ÙËÓ ·›ÛıËÛË ÓÂÎÚ‹˜ fiÏË˜ ‹ Ì·Î¤Ù·˜, Ë

Ï‹„Ë ¤¯ÂÈ Á›ÓÂÈ ËÌ¤Ú· ΔÂÙ¿ÚÙË, ÂÚÁ¿ÛÈÌË, ÓˆÚ›˜ ÙÔ ·fiÁÂ˘Ì·.

™˘Ì‚ÔÏ‹ ÙˆÓ Ô‰ÒÓ ∂ıÓÈÎ‹˜ ∞Ì‡ÓË˜, ∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘ Î·ÈÔ‰Ô‡ ™·Ú¿ÓÙ· ∂ÎÎÏËÛÈÒÓ, 1962

¶·ÓÂÈÛÙËÌÈÔ‡ÔÏÈ˜ £ÂÛÛ·ÏÔÓ›ÎË˜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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏152k

∫ÂÎÏÈÌ¤ÓË Ï‹„Ë ·fi ·¤ÚÔ˜. Œ¯ÂÈ Ú·ÁÌ·ÙÔÔÈËıÂ› Ï›ÁË ÒÚ· ÌÂÙ¿

ÙËÓ ÚÔËÁÔ‡ÌÂÓË, ÙËÓ ÔÔ›· Û˘ÌÏËÚÒÓÂÈ. ¢È·ÎÚ›ÓÂÙ·È Ë º˘ÛÈÎÔÌ·-

ıËÌ·ÙÈÎ‹, ÛÙ· ·ÚÈÛÙÂÚ¿ ÙË˜ Ë °ÂˆÔÓÔ‰·ÛÔÏÔÁÈÎ‹ Î·È ›Ûˆ ÙË˜

ÔÏfiÎÏËÚÔ ÙÔ ÃËÌÂ›Ô, ÛÙÔ Î¤ÓÙÚÔ ÙË˜ ÊˆÙÔÁÚ·Ê›·˜. ™Â ÚÒÙÔ Ï¿-

ÓÔ, ÙÔ ÎÔÈÌËÙ‹ÚÈÔ ÙË˜ ∂˘·ÁÁÂÏ›ÛÙÚÈ·˜. ∫¿Ùˆ ‰ÂÍÈ¿, ÙÔ ∫ÂÓÙÚÈÎfi

¡ÔÛÔÎÔÌÂ›Ô (Ó˘Ó «°. °ÂÓÓËÌ·Ù¿˜»). ¢ÂÍÈ¿ Î·È ›Ûˆ ÙÔ˘, Ë Û¯ÔÏ‹

ÓÔÛÔÎfiÌˆÓ. ¶›Ûˆ ÙË˜, ÛÙÔ ¿ÎÚÔ ‰ÂÍÈ¿, ÙÔ ·Ï·Èfi ÎÙ›ÚÈÔ ÙÔ˘ ·ÓÂÈ-

ÛÙËÌ›Ô˘. ™Ù· ·ÚÈÛÙÂÚ¿ ÙÔ˘ ¤¯ÂÈ ¤Ó· ÚfiÛÎÙÈÛÌ·, ÙÔ ÔÔ›Ô ·ÚÁfiÙÂÚ·

Î·ÙÂ‰·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· ·˘ÙÔÎ›ÓËÙ·.

™ÙÔ ¯ÒÚÔ ÂÎÂ›ÓÔ ·ÓÂÁ¤ÚıËÎÂ ·ÚÁfiÙÂÚ· Ë £ÂÔÏÔÁÈÎ‹ Û¯ÔÏ‹. ™ÙÔ

Î¤ÓÙÚÔ ÙË˜ ·ÓÂÈÛÙËÌÈÔ‡ÔÏË˜ ‰ÂÓ ¤¯Ô˘Ó Î·Ù·ÛÎÂ˘·ÛÙÂ› ·ÎfiÌË

ÎÙ›ÚÈ·. ¢È·ÎÚ›ÓÔÓÙ·È ÌfiÓÔÓ: ÙÔ ªÂÙÂˆÚÔÛÎÔÂ›Ô (Î˘ÎÏÈÎfi ÎÙ›ÛÌ· ÛÙÔ

Î¤ÓÙÚÔ), ÛÙ· ·ÚÈÛÙÂÚ¿ ÙÔ˘ ÙÔ ∞ÛÙÂÚÔÛÎÔÂ›Ô Î·È, ·ÎfiÌË ÈÔ ·ÚÈÛÙÂ-

Ú¿, ÙÔ ÓÔÛÔÎÔÌÂ›Ô ∞Ã∂¶∞. ¶ÈÔ ¿Óˆ ·fi ÙÔ ∞Ã∂¶∞, Ë ¶ÔÏ˘ÙÂ¯ÓÈÎ‹

Û¯ÔÏ‹. √È ¯ÒÚÔÈ ÚÔ˜ ÙÔ ¿Óˆ ‰ÂÍÈfi Ì¤ÚÔ˜ ÙË˜ ÊˆÙÔÁÚ·Ê›·˜ Â›Ó·È

ÙË˜ ¢∂£, ÌÂ Â›ÎÂÓÙÚÔ ÙÔ ÎÏ·ÛÈÎ‹˜ ÙÂ¯ÓÔÙÚÔ›·˜ ÎÙ›ÚÈÔ ÙË˜ ∂ıÓÈÎ‹˜

¶·Ú·ÁˆÁ‹˜, Ô˘ ·Ú·¯ÒÚËÛÂ ÙË ı¤ÛË ÙÔ˘ ÛÙÔ ¶·Ï¤ ÓÙÂ ™ÔÚ.

∞Ó¿ÌÂÛ· ÛÙËÓ ¶ÔÏ˘ÙÂ¯ÓÈÎ‹, ÙË ¢∂£ Î·È ÙÔ Á‹Â‰Ô ÙÔ˘ ¶∞√∫,

·ÏÒÓÂÙ·È fi,ÙÈ Â›¯Â ·ÔÌÂ›ÓÂÈ ·fi ÙËÓ ÚÔÛÊ˘ÁÈÎ‹ ÔÏÈÙÂ›· ÙË˜

∞Á›·˜ ºˆÙÂÈÓ‹˜.

¶·ÓÂÈÛÙËÌÈÔ‡ÔÏË, Á‹Â‰Ô¶∞√∫, ∞Á›· ºˆÙÂÈÓ‹, 1962

¶·ÓÂÈÛÙËÌÈÔ‡ÔÏÈ˜ £ÂÛÛ·ÏÔÓ›ÎË˜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

ª ¡ ∏ ª ∂ π ∞T H E M O N U M E N T S

∞fi ÙË Û˘ÏÏÔÁ‹ ÙË˜ °ÂÓÈÎ‹˜ °Ú·ÌÌ·ÙÂ›·˜ ∂ÈÎÔÈÓˆÓ›·˜ Î·È ÙË˜ °ÂÓÈ-

Î‹˜ °Ú·ÌÌ·ÙÂ›·˜ ∂ÓËÌ¤ÚˆÛË˜ ¤¯Ô˘Ó ÂÈÏÂÁÂ› 26 Ï‹„ÂÈ˜ ‚˘˙·ÓÙÈÓÒÓ

Î·È ÓÂfiÙÂÚˆÓ ÌÓËÌÂ›ˆÓ ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜, Ô˘ Ú·ÁÌ·ÙÔÔÈ‹ıËÎ·Ó

ÛÂ ‰È¿ÊÔÚÂ˜ ¯ÚÔÓÈÎ¤˜ ÂÚÈfi‰Ô˘˜ ·fi ÙÔ 1900 ˆ˜ ÙÔ 1970. π‰È·›ÙÂÚ·

ÔÏ‡ÙÈÌÂ˜ Â›Ó·È ÔÈ Ï‹„ÂÈ˜ ÙˆÓ ‰ÂÎ·ÂÙÈÒÓ ÙÔ˘ 1950 Î·È 1960, fiÙ·Ó

·ÎfiÌË Ë £ÂÛÛ·ÏÔÓ›ÎË ‰È·ÙËÚÔ‡ÛÂ ›¯ÓË ÙÔ˘ ‚˘˙·ÓÙÈÓÔ‡ ÈÛÙÔ‡ ÙË˜

–Ì¤Û· ·fi ÙÈ˜ ÔıˆÌ·ÓÈÎ¤˜ ÂÈ‚ÈÒÛÂÈ˜ ÙÔ˘- ÁÂÁÔÓfi˜ Ô˘ Â¤ÙÚÂÂ ÙËÓ

Î·Ï‡ÙÂÚË Î·Ù·ÓfiËÛË ÙÔ˘ ·ÛÙÈÎÔ‡ ÙÔ›Ô˘.

√È ÊˆÙÔÁÚ·Ê‹ÛÂÈ˜ ·˘Ù¤˜ ¤¯Ô˘Ó Û‹ÌÂÚ· È‰È·›ÙÂÚË ·Í›· ÁÈ· fiÔÈÔÓ

·Û¯ÔÏÂ›Ù·È ÌÂ ÙËÓ fiÏË –ÈÛÙÔÚÈÎ¿, ÁÂˆÁÚ·ÊÈÎ¿ Î·È ÔÏÂÔ‰ÔÌÈÎ¿-

‰ÈfiÙÈ ¤¯Ô˘Ó Á›ÓÂÈ ÌÂ ÙË Û˘ÓÂ›‰ËÛË ÙË˜ ··ı·Ó¿ÙÈÛË˜ ÂÓfi˜ ·ÍÈÔı¤·ÙÔ˘,

¯ˆÚ›˜ ‚¤‚·È· –ÊˆÙÔÁÚ¿ÊÔÈ Î·È Û˘ÏÏ¤ÎÙÂ˜- Ó· ˘ÔÙÂ‡ÔÓÙ·Ó fiÙÈ,

ÔÏ‡ Û‡ÓÙÔÌ·, ÙÔ ÂÚÈ‚¿ÏÏÔÓ ı· ÌÂÙ·‚·ÏÏfiÙ·Ó ÛÂ Ù¤ÙÔÈÔ ‚·ıÌfi, ÒÛÙÂ

Ë ÊˆÙÔÁÚ·Ê›· ı· Â›¯Â ÌÂÁ·Ï‡ÙÂÚË ›Ûˆ˜ ·Í›· ÁÈ· ÙËÓ ·ÂÈÎfiÓÈÛË ÙˆÓ

¤ÚÈÍ, ·Ú¿ ÙÔ˘ ›‰ÈÔ˘ ÙÔ˘ ÌÓËÌÂ›Ô˘.

[°È· ÙË Û‡ÓÙ·ÍË ÙˆÓ ˘ÔÌÓËÌ¿ÙˆÓ ÛÙÈ˜ ÂÈÎfiÓÂ˜ 67 Î·È 68 Â˘¯·ÚÈÛÙ›Â˜

ÔÊÂ›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

√ ÊˆÙÔÁÚ¿ÊÔ˜ Ú¤ÂÈ Ó· ·Ó¤‚ËÎÂ ÛÂ Ô›ÎËÌ· ÛÙË ‰˘ÙÈÎ‹ ÏÂ˘Ú¿ ÙË˜

Ô‰Ô‡ ∞ÎÚÔfiÏÂˆ˜ Î·È Ó· ·ÍÈÔÔ›ËÛÂ ÙËÓ ˘„ÔÌÂÙÚÈÎ‹ ‰È·ÊÔÚ¿ ÁÈ·

Ó· ÚÔ‚¿ÏÂÈ Ù· ‚fiÚÂÈ· ÙÂ›¯Ë ÙË˜ fiÏË˜ Î·È ÙÔÓ ÛÙÚÔÁÁ˘Ïfi ‡ÚÁÔ

ÛÙÔ ΔÚÈÁÒÓÈÔ. ∞Ó¤‰ÂÈÍÂ ¤ÙÛÈ ÙÈ˜ Û˘ÓÔÈÎ›Â˜ ÙË˜ ÕÓˆ ¶fiÏË˜. ∏ ¯ÚÔÓÔ-

ÏfiÁËÛË ÙË˜ Ï‹„Ë˜ Â›Ó·È ÚÔ‚ÏËÌ·ÙÈÎ‹. ¢ÂÓ ‰È·ÎÚ›ÓÂÙ·È Î·Ó¤Ó·

ÛËÌÂ›Ô ÓÂˆÙÂÚÈÛÌÔ‡ Ô‡ÙÂ ›¯ÓÔ˜ ÌÂÙ·ÊÔÚÈÎÔ‡ Ì¤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 (ÔfiÙÂ Î·È

Î·ÙÂ‰·Ê›ÛÙËÎ·Ó fiÏÔÈ, ÏËÓ ÙË˜ ƒÔÙfiÓÙ·˜).

∏ ÕÓˆ ¶fiÏË ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜,›Ûˆ˜ Ù¤ÏË ‰ÂÎ·ÂÙ›·˜ 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 M O N U M E N T S 66

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏158k

∏ ÂÍˆÙÂÚÈÎ‹ ÏÂ˘Ú¿ ÙˆÓ ‚fiÚÂÈˆÓ ÙÂÈ¯ÒÓ ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜, ·fi ÙËÓ

ÏÂ˘Ú¿ ÙÔ˘ ∂Ù·˘ÚÁ›Ô˘: fi,ÙÈ ‚Ï¤ÂÈ Î·ÓÂ›˜ ÌfiÏÈ˜ ÂÚ¿ÛÂÈ ÙËÓ fiÏË

Ô˘ ¯ÚËÛÈÌÔÔÈÔ‡Ó Ù· ÏÂˆÊÔÚÂ›· ÁÈ· Ó· ÂÈÛ¤ÏıÔ˘Ó ÛÙÔ ∂Ù·‡ÚÁÈÔ.

∏ ÂÈÎfiÓ· Â›Ó·È ÂÓÙÂÏÒ˜ ›‰È· Î·È Û‹ÌÂÚ·.

Δ· ÙÂ›¯Ë, 1963

£ÂÛÛ·ÏÔÓ›ÎË. Δ· ‚˘˙·ÓÙÈÓ¿ ÙÂ›¯Ë ÙË˜ fiÏÂˆ˜ «∂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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏160k

∏ ˘ÚÎ·ÁÈ¿, ÂÎÙfi˜ ·fi ÙÔ˘˜ ÙÚÂÈ˜ ÁÓˆÛÙÔ‡˜ ÌÂÁ¿ÏÔ˘˜ Ó·Ô‡˜ (ÕÁÈÔ

¢ËÌ‹ÙÚÈÔ, ÕÁÈÔ ¡ÈÎfiÏ·Ô, ∞Á›· £ÂÔ‰ÒÚ·) Î·È ÙÔÓ Ó·˝ÛÎÔ ÙË˜ ¶·Ó·-

Á›·˜ ∂ÏÂÔ‡Û·˜ (ÎÔÓÙ¿ ÛÙË ªËÙÚfiÔÏË) Î·Ù¤Î·˘ÛÂ Ó·˝ÛÎÔ˘˜ Î·È

·ÁÈ¿ÛÌ·Ù·, ÔÈ ÔÓÔÌ·Û›Â˜ ÙˆÓ ÔÔ›ˆÓ Ì·˜ Â›Ó·È ÁÓˆÛÙ¿ ÌfiÓÔÓ ·fi

·Ú¯ÂÈ·Î¤˜ ËÁ¤˜. ∂›ÛË˜ Î·Ù¤ÛÙÚÂ„Â ÈÛÏ·ÌÈÎ¿ ıÚËÛÎÂ˘ÙÈÎ¿ È‰Ú‡Ì·-

Ù· Ô˘ ÛÙÂÁ¿˙ÔÓÙ·Ó ÛÂ ·Ï·ÈÔ‡˜ ¯ÚÈÛÙÈ·ÓÈÎÔ‡˜ Ó·Ô‡˜.

√ ÂÈÎÔÓÈ˙fiÌÂÓÔ˜ Ó·fi˜ ‹Ù·Ó ÌÈÎÚfi˜. ∏ ‰Â‡ÙÂÚË ÛÂÈÚ¿ ÙË˜ ÂÈÎÔÓÔÁÚ¿-

ÊËÛË˜ ÙË˜ ·„›‰·˜ ÙÔ˘ ÈÂÚÔ‡ ·Ó··ÚÈÛÙ¿ ÙË ªÂÙ¿ÏË„Ë ÙÔ˘ √›ÓÔ˘

·fi ÙË ˙ˆ‹ ÙÔ˘ ÃÚÈÛÙÔ‡ (·ÓÙ›ÛÙÔÈ¯Ë ÙÔÈ¯ÔÁÚ·Ê›· ˘¿Ú¯ÂÈ ÛÙÔ

·ÚÂÎÎÏ‹ÛÈ ÙÔ˘ ∞Á›Ô˘ ∂˘ı˘Ì›Ô˘, ÛÙÔÓ ÕÁÈÔ ¢ËÌ‹ÙÚÈÔ ÙË˜ £ÂÛÛ·ÏÔ-

Ó›ÎË˜). Δ· ¯Ù˘‹Ì·Ù· ÛÙÔ˘˜ ÙÔ›¯Ô˘˜ Î·È Ù· ˘ÔÏÂ›ÌÌ·Ù· ÙÔ˘ ÛÔ‚¿

Ì·ÚÙ˘ÚÔ‡Ó fiÙÈ Ô Ó·fi˜ Â›¯Â ÌÂÙ·ÙÚ·Â› ÛÂ Ù¤ÌÂÓÔ˜. Δ¤ÏÔ˜, ÙÔ Â›Â-

‰Ô ÙˆÓ Ì¿˙ˆÓ ÛÙÔ ¯ÒÚÔ ÙÔ˘ ÈÂÚÔ‡, ÙÔ ÔÔ›Ô ··Ú·›ÙËÙ· ÛÙÂÁ¿˙Â-

Ù·È ÌÂ ¯ÙÈÛÙ‹ ÛÙ¤ÁË, ‚Ú›ÛÎÂÙ·È ÂÌÊ·ÓÒ˜ ˘„ËÏfiÙÂÚ· ·fi Ù· Ì¿˙·

ÛÙÔÓ Î˘Ú›ˆ˜ Ó·fi. ÕÚ·, Ë ÛÙ¤ÁË ÙÔ˘ Î˘Ú›ˆ˜ Ó·Ô‡ Î¿ËÎÂ Î·È Î·Ù¤Ú-

ÚÂ˘ÛÂ, ·Ê‹ÓÔÓÙ·˜ ÔÏ‡ ÏÈÁfiÙÂÚ· ˘ÔÏÂ›ÌÌ·Ù·. ŒÙÛÈ, Ì¿ÏÏÔÓ, Úfi-

ÎÂÈÙ·È ÁÈ· ÌÈÎÚ‹ Í˘ÏfiÛÙÂÁË ‚·ÛÈÏÈÎ‹, Ô˘ Â›¯Â ÌÂÙ·ÙÚ·Â› -ÁÈ· ÔÏ‡

‹ Ï›ÁÔ- ÛÂ Ù¤ÌÂÓÔ˜ Î·È Î¿ËÎÂ ÙÔ 1917.

∂ÚÂ›È· ·Ù·‡ÙÈÛÙÔ˘ Ó·Ô‡ ÌÂÙ¿ ÙËÓ ˘ÚÎ·ÁÈ¿ ÙÔ˘ 1917

¶˘ÚÎ·ÁÈ¿ £ÂÛÛ·ÏÔÓ›ÎË˜ 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


ª ¡ ∏ ª ∂ π ∞68

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏162k

∫·Ù¿ ÙË ÌÂÁ¿ÏË ÈÙ·ÏÈÎ‹ ·ÂÚÔÔÚÈÎ‹ ÂÈ‰ÚÔÌ‹ ÙË˜ 9Ë˜ ºÂ‚ÚÔ˘·Ú›Ô˘

1941, «Â‚Ï‹ıË ÌÓËÌÂ›ÔÓ ∞Á›·˜ ™ÔÊ›·˜ ÂÓ μ¢ ÁˆÓ›· ÙÂÙÚ·ÁÒÓÔ˘

‚¿ÛÂˆ˜ Ù˘Ì¿ÓÔ˘ ÙÚÔ‡ÏÏÔ˘ Î·Ù·ÛÙÚ·ÊÂ›ÛË ÂÍˆÙÂÚÈÎÒ˜, Ù·

μ[fiÚÂÈ·] Î·È ¢[˘ÙÈÎ¿] ÙÔ˘ ÂÛˆÙÂÚÈÎÔ‡ ÌÂÁ¿Ï· ÙfiÍ· Î·È Ù· ÌÈÎÚfiÙÂÚ·

ÙÔ˘ Ù˘Ì¿ÓÔ˘ ÙˆÓ ÂÚÚ¿ÁËÛ·Ó, Ë μ[ÔÚÂ›·˜] ÏÂ˘Ú¿˜ ÛÙ¤ÁË Á˘Ó·ÈÎˆ-

Ó›ÙÔ˘, ÙÔ ‹ÌÈÛ˘ ‰˘ÙÈÎ‹˜ Î·È ÛÙ¤ÁË ÙÚÔ˘ÏˆÙ‹ Îˆ‰ˆÓÔÛÙ·Û›Ô˘ Î·ÙÂ-

ÛÙÚ¿ÊË», Û‡ÌÊˆÓ· ÌÂ ÙËÏÂÁÚ·ÊÈÎ‹ ¤ÎıÂÛË ÙÔ˘ ÂÊfiÚÔ˘ ·Ú¯·ÈÔÙ‹-

ÙˆÓ ª·ÎÂ‰ÔÓ›·˜, Ô˘ ˘Ô‚Ï‹ıËÎÂ ÙËÓ Â·‡ÚÈÔÓ. ∏ ¤ÎıÂÛË ·Ó¤ÊÂÚÂ

·ÎfiÌË fiÙÈ ¿ÏÏÔ ‚Ï‹Ì· Î·Ù¤ÛÙÚÂ„Â ÙË ÛÙ¤ÁË ÙÔ˘ ÚÔÛÙÒÔ˘, fiÏ· Ù·

˘·ÏÔÈÓ¿ÎÈ· Î·È ÔÚÈÛÌ¤ÓÂ˜ ÊÔÚËÙ¤˜ ÂÈÎfiÓÂ˜. Δ· ÌˆÛ·˚Î¿ ‰ÂÓ ¤·-

ı·Ó Ù›ÔÙÂ. ΔÔ ÎfiÛÙÔ˜ ÙˆÓ ÂÈ‰ÈÔÚıÒÛÂˆÓ ·Ó¤Ï·‚Â Ë ÂÓÔÚÈ·Î‹ ÂÈ-

ÙÚÔ‹.

∏ ˙ËÌ›· Ô˘ ÚÔÎÏ‹ıËÎÂ ÛÙËÓ ∞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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏164k

√ ÊˆÙÔÁÚ¿ÊÔ˜ ·ÂÈÎfiÓÈÛÂ ÙÔÓ ÂÚÈ‚¿ÏÏÔÓÙ· ¯ÒÚÔ ÙË˜ ƒÔÙfiÓÙ·˜,

·fi ÙËÓ ÛÙ¤ÁË ÚÔÊ·ÓÒ˜ ÙÔ˘ ÌÓËÌÂ›Ô˘. ¢ÂÓ ·Ê‹ÓÂÈ ·ÌÊÈ‚ÔÏ›Â˜ ÁÈ’

·˘Ùfi Ë ¯·Ú·ÎÙËÚÈÛÙÈÎ‹ Â›ÛÔ‰Ô˜ Î·È Ù· Ì·ÚÌ¿ÚÈÓ· ıÚ·‡ÛÌ·Ù· Ô˘

Â›Ó·È ·ÎÔ˘ÌÈÛÌ¤Ó· Á‡Úˆ ÙË˜. ∏ ÊˆÙÔÁÚ·Ê›· Â›Ó·È ÌÔÓ·‰ÈÎ‹ ·ÊÂ-

Ófi˜ ·fi ÙËÓ ¿Ô„Ë ÙË˜ ·ÔÙ‡ˆÛË˜ ÙˆÓ ·Ï·ÈÒÓ Î·ÙÔÈÎÈÒÓ Î·È ÙË˜

·˘ıÂÓÙÈÎ‹˜ ·Ú¯ÈÙÂÎÙÔÓÈÎ‹˜ ÙÔ˘˜ ·ÊÂÙ¤ÚÔ˘ ·fi ÙËÓ ÂÌÊ¿ÓÈÛË ÙË˜

·Ï·È¿˜ Ô‰Ô‡ ºÈÏ›Ô˘, ÛÂ ·ÓÙÈ·Ú·‚ÔÏ‹ ÚÔ˜ ÙË Ó¤· (Î·È ˘ÊÈÛÙ¿-

ÌÂÓË) Ù·˘ÙÒÓ˘ÌË Ô‰fi, Ë ÔÈÎÔ‰ÔÌÈÎ‹ ÁÚ·ÌÌ‹ ÙË˜ 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· ÂÛˆÙÂÚÈÎ¿ ¯·Ú·-

ÎÙËÚÈÛÙÈÎ¿ ÙË˜ ÊˆÙÔÁÚ·Ê›·˜.

∏ Â›ÛÔ‰Ô˜ ÙË˜ ƒÔÙfiÓÙ·˜ Î·È Ë ·Ï·È¿ Ô‰fi˜ ºÈÏ›Ô˘, 1947

ºÂ‚ÚÔ˘¿ÚÈÔ˜ 1947[Ê¤ÚÂÈ 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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏166k

ŒÂÈÙ·, Ô ÊˆÙÔÁÚ¿ÊÔ˜ ÛÙÚ¿ÊËÎÂ ÚÔ˜ Ù· ‰ÂÍÈ¿ Î·È ··ı·Ó¿ÙÈÛÂ

ÙËÓ ÂÚÈÔ¯‹ ‚ÔÚÂ›ˆ˜ ÙË˜ Ô‰Ô‡ ºÈÏ›Ô˘. ª·˜ ÎÏËÚÔ‰fiÙËÛÂ, ¤ÙÛÈ, ÙË

ÌÔÓ·‰ÈÎ‹, ›Ûˆ˜, ‰È·ı¤ÛÈÌË ÌÂÙ·ÔÏÂÌÈÎ‹ ·ÂÈÎfiÓÈÛË ÙÔ˘ ‚ÔÚÂÈÔ·Ó·-

ÙÔÏÈÎÔ‡ ÙÌ‹Ì·ÙÔ˜ ÙË˜ fiÏË˜ ÂÓÙfi˜ ÙˆÓ ÙÂÈ¯ÒÓ Î·È ÙË˜ ·Ú¯ÈÙÂÎÙÔÓÈ-

Î‹˜ ÙÔ˘.

∏ £ÂÛÛ·ÏÔÓ›ÎË ‚ÔÚÂ›ˆ˜ ÙË˜ Ô‰Ô‡ ºÈÏ›Ô˘, 1947

ÕÙÈÙÏË [Ê¤ÚÂÈ 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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏168k

ΔÔ ·ÓÙÈÎÂ›ÌÂÓÔ ÙÔ˘ ÊˆÙÔÁÚ¿ÊÔ˘ ‹Ù·Ó ›Ûˆ˜ Ë ∫·Ì¿Ú·, ‰ËÏ·‰‹ Ë

·„›‰· ÙÔ˘ °·ÏÂÚ›Ô˘. ∞ÏÏ¿ ÙÔ ÁÂˆÁÚ·ÊÈÎfi Î·È ÎÔÈÓˆÓÈÎfi ÂÚÈ‚¿ÏÏÔÓ

Ô˘ ·ÔÎ·Ï‡ÙÂÈ Ë ÂÈÎfiÓ· Â›Ó·È ÈÔ ÂÓ‰È·Ê¤ÚÔÓ, ÂÓ ÚÔÎÂÈÌ¤Óˆ, ·fi

ÙÔ ÔÏ˘ÊˆÙÔÁÚ·ÊËÌ¤ÓÔ Î·È ‰È·Ûˆ˙ÒÌÂÓÔ ÌÓËÌÂ›Ô. ∏ Ï‹„Ë ¤¯ÂÈ ˆ˜

¯ÚÔÓÈÎ¿ fiÚÈ· ÙÔ 1938 (ÔfiÙÂ Î·È ·ÓÂÁ¤ÚıËÎÂ ÙÔ ÂÓÙ·fiÚÔÊÔ ÎÙ›ÚÈÔ

ÛÙ· ·ÚÈÛÙÂÚ¿) Î·È ÙÔ 1952, ÔfiÙÂ Ú·ÁÌ·ÙÔÔÈ‹ıËÎÂ Ë ‰È·Ï¿Ù˘Ó-

ÛË ÙË˜ Ô‰Ô‡ ÚÔ˜ Ù· ‰ÂÍÈ¿ Î·È ÎfiËÎ·Ó Ù· Â‡Î· (ÙË˜ Ô‰Ô‡ ∂ÁÓ·-

Ù›·˜!). √È ÛÙÚ·ÙÈÒÙÂ˜ Ô˘ ÚÔ¯ˆÚÔ‡Ó ‚Ú›ÛÎÔÓÙ·È ÛÙÔ ‡„Ô˜ ÙË˜ Ô‰Ô‡

¶·Ï·ÈÒÓ ¶·ÙÚÒÓ °ÂÚÌ·ÓÔ‡. ∏ ÙÚÔ¯ÈÔ‰ÚÔÌÈÎ‹ ÁÚ·ÌÌ‹ ÂÍ·ÎÔÏÔ˘ıÂ›

Ó· ‰È¤Ú¯ÂÙ·È (Ì¤¯ÚÈ ÙÔ 1952) Î¿Ùˆ ·fi ÙËÓ ·„›‰·. ∏ ÁÂÓÈÎ‹ ·›ÛıË-

ÛË –Ï·Ì‚¿ÓÔÓÙ·˜ ˘fi„Ë ÙÈ˜ ÂÓ‰˘Ì·Û›Â˜- Â›Ó·È fiÙÈ ÚfiÎÂÈÙ·È ÁÈ· Ù·

Ù¤ÏË ÙË˜ ‰ÂÎ·ÂÙ›·˜ ÙÔ˘ 1940. ¢ÂÓ ·ÔÎÏÂ›ÂÙ·È Ë Ï‹„Ë Ó· ¤ÁÈÓÂ ·fi

ÙÔ ›‰ÈÔ ÚfiÛˆÔ Ô˘ ··ı·Ó¿ÙÈÛÂ ÙËÓ ÂÚÈÔ¯‹ Á‡Úˆ ·fi ÙË ƒÔÙfi-

ÓÙ· ÙÔ 1947 (‚Ï. ÚÔËÁÔ‡ÌÂÓÂ˜ ÊˆÙÔÁÚ·Ê›Â˜).

√‰fi˜ ∂ÁÓ·Ù›·, Ù¤ÏË ‰ÂÎ·ÂÙ›·˜ 1940

ÕÙÈÙÏË [Ê¤ÚÂÈ 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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏170k

∏ ‰È¿ÓÔÈÍË ÙË˜ ∂ÁÓ·Ù›·˜ Î·È Ô Î·ı·ÚÈÛÌfi˜ ÙË˜ ·„›‰·˜, Ô˘ Ú·Á-

Ì·ÙÔÔÈ‹ıËÎ·Ó ÛÙ· Ù¤ÏË ÙÔ˘ 1952 Î·È ÙÈ˜ ·Ú¯¤˜ ÙÔ˘ 1953, Â›¯·Ó

ÔÏÔÎÏËÚˆıÂ› fiÙ·Ó ¤ÁÈÓÂ Ë Ï‹„Ë. ΔÔ 1955 Ô ÊˆÙÔÁÚ¿ÊÔ˜ °. §˘Î›-

‰Ë˜ Â›¯Â ÊˆÙÔÁÚ·Ê‹ÛÂÈ ÙÔ ÌÓËÌÂ›Ô Î·È Â›¯Â Ï¿‚ÂÈ ÙËÓ ¤ÁÎÚÈÛË ·fi

ÙËÓ ·ÚÌfi‰È· ˘ËÚÂÛ›· ÁÈ· Ó· Î˘ÎÏÔÊÔÚ‹ÛÂÈ Î·ÚÙÔÛÙ¿Ï. ∏ ÂÈÎfiÓ·

Ô˘ ‚Ï¤Ô˘ÌÂ ı˘Ì›˙ÂÈ ¤ÓÙÔÓ· ÙÈ˜ Ï‹„ÂÈ˜ ÙÔ˘ §˘Î›‰Ë ÙÔ˘ ¤ÙÔ˘˜ ÂÎÂ›-

ÓÔ˘. ª¤Û· ·fi ÙËÓ ·„›‰· ‰È·ÎÚ›ÓÂÙ·È ÙÔ ÙÚÈÒÚÔÊÔ ÎÙ›ÚÈÔ ÛÙË ÁˆÓ›·

ÌÂ 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˘ [Ê¤ÚÂÈ 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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏172k

∏ Ï‹„Ë ¤ÁÈÓÂ ·fi ÙÔ ÍÂÓÔ‰Ô¯Â›Ô ∞μC, ÛÙËÓ Ï·ÙÂ›· ™ÈÓÙÚÈ‚·Ó›Ô˘.

ÃÚÔÓÔÏÔÁÂ›Ù·È ÌÂÙ·Í‡ ÙˆÓ ÂÙÒÓ 1961 (ÔfiÙÂ ÎÙ›ÛıËÎÂ Ë ÔÏ˘ÒÚÔ-

ÊË ÔÈÎÔ‰ÔÌ‹ ÛÙË ÁˆÓ›· ÌÂ ÙËÓ Ô‰fi ∞ÔÛÙfiÏÔ˘ ¶·‡ÏÔ˘, ÛÙË ı¤ÛË

ÙÔ˘ Ê·ÚÌ·ÎÂ›Ô˘ ¢ËÌ¿‰Ë: ‚Ï. ÙËÓ ÚÔËÁÔ‡ÌÂÓË ÊˆÙÔÁÚ·Ê›·), Î·È

ÛÙÔ 1968, ÔfiÙÂ ÔÏÔÎÏËÚÒıËÎÂ Ô ÛÎÂÏÂÙfi˜ ÙË˜ ÔÈÎÔ‰ÔÌ‹˜ ÙÔ˘ ÎÙÈ-

Ú›Ô˘ ÙË˜ ∂Δ∂, ÛÙË ÁˆÓ›· ÌÂ ÙËÓ Ô‰fi ∫·Ì‚Ô˘Ó›ˆÓ (·ÚÈÛÙÂÚ¿: ÛÙÔ

ÎÂÓfi, ·fi ÙÔ ÔÔ›Ô ·Ê‹ÓÂÙ·È Ó· ‰È·ÎÚÈıÂ› Ë ‰È·ÊËÌÈÛÙÈÎ‹ ÈÓ·Î›‰·

ÙË˜ TWA). Δ· ·Ï·È¿ ÎÙ›ÛÌ·Ù· ÛÙ· ·ÚÈÛÙÂÚ¿ –Ô˘ Û‡ÓÙÔÌ· ÂÚfi-

ÎÂÈÙÔ Ó· Î·ÙÂ‰·ÊÈÛÙÔ‡Ó- ‰Â›¯ÓÔ˘Ó ÙËÓ ·Ï·È¿ ÔÈÎÔ‰ÔÌÈÎ‹ ÁÚ·ÌÌ‹

(ÛÂ ÓÔËÙ‹ Â˘ıÂ›· ÌÂ ÙËÓ ·„›‰· ÙÔ˘ °·ÏÂÚ›Ô˘). ∞ÎÚÈ‚Ò˜ ·¤Ó·ÓÙÈ ·fi

ÙËÓ ·„›‰·, ‰È·ÎÚ›ÓÂÙ·È ¤Ó· ÙÌ‹Ì· ÙÔ˘ Ó·Ô‡ ÙË˜ ¶·Ó·Á›·˜ ¢ÂÍÈ¿˜.

∞„›‰· °·ÏÂÚ›Ô˘, Ì¤Û· ‰ÂÎ·ÂÙ›·˜ 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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏174k

∏ Ï‹„Ë Ú¤ÂÈ Ó· ¤ÁÈÓÂ ÌÂÙ¿ ÙÔÓ Î·ı·ÚÈÛÌfi ÙÔ˘ ÌÓËÌÂ›Ô˘ (1953).

◊‰Ë, ‚¤‚·È·, ÂÚÈÁÚ·Ê‹ ÙÔ˘ Â›¯Â ÂÈ¯ÂÈÚËıÂ› ·fi ÙÔÓ 19Ô ·ÈÒÓ·.

™ÙËÓ ÎÔÚ˘Ê‹ ‚Ú›ÛÎÔÓÙ·È ˙ÒÓÂ˜ ÌÂ ‰È·ÎÔÛÌËÙÈÎ¿ ·Ó¿ÁÏ˘Ê·, Ê‡ÏÏ·

Î·È ·ÛÙÚ·Á¿ÏÔ˘˜. Δ· ·Ó¿ÁÏ˘Ê· Ô˘ ·ÎÔÏÔ˘ıÔ‡Ó Ì¤¯ÚÈ ÙË Ì·ÚÌ¿ÚÈ-

ÓË ‚¿ÛË ÙË˜ ·„›‰·˜, Â›Ó·È ‰È·Ù·ÁÌ¤Ó· ÛÂ ˙ÒÓÂ˜, Ô˘ ¯ˆÚ›˙ÔÓÙ·È ÌÂ

·Ó¿ÁÏ˘Ê· ÎÔÛÌ‹Ì·Ù·. ™ÙËÓ ·ÓÒÙÂÚË ˙ÒÓË ÈÂ›˜ ÂÈÙ›ıÂÓÙ·È ÂÓ·-

ÓÙ›ÔÓ fiÏÂˆ˜ Î·È ÂÈÛ¤Ú¯ÔÓÙ·È ·fi Ù· ÙÂ›¯Ë. ™ÙË ‰Â‡ÙÂÚË ˙ÒÓË ·Ó·-

·Ú›ÛÙ·Ù·È Ì¿¯Ë ÌÂÙ·Í‡ È¤ˆÓ. ™ÙËÓ ÙÚ›ÙË ˙ÒÓË ‚·ÛÈÏÈ¿˜ Î¿ıÂÙ·È

·Ó¿ÌÂÛ· ÛÂ ·ÍÈˆÌ·ÙÔ‡¯Ô˘˜. Δ¤ÏÔ˜, Ë Î·ÙÒÙÂÚË ˙ÒÓË ÂÚÈÏ·Ì‚¿ÓÂÈ

Ó›ÎÂ˜ Ô˘ Ê¤ÚÔ˘Ó ÙÚfi·È·.

¶ÂÚÈÁÚ·Ê‹ ÙÔ˘ ÌÓËÌÂ›Ô˘

¶‡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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏176k

∞fi Ù· Ù¤ÏË ÙÔ˘ 19Ô˘ ·ÈÒÓ·, ÔÈ ÂÈ‰ÈÎÔ› ÈÛÙÂ‡Ô˘Ó fiÙÈ Ë ·„›‰· ·ÊÈÂ-

ÚÒıËÎÂ ÛÙÔÓ °·Ï¤ÚÈÔ ÏfiÁˆ ÙË˜ Ó›ÎË˜ ÙÔ˘ Â› ÙˆÓ ¶ÂÚÛÒÓ. ÃˆÚ›˜ Ó·

·ÔÎÏÂ›ÔÓÙ·È ¿ÏÏÂ˜ ÂÎ‰Ô¯¤˜, Ë ‰Â‡ÙÂÚË ÂÎ ÙˆÓ ¿Óˆ ˙ÒÓË Ô˘ ·ÂÈ-

ÎÔÓ›˙ÂÙ·È ÛÙË Û˘ÁÎÂÎÚÈÌ¤ÓË Ï‹„Ë, Ë Ì¿¯Ë ÌÂÙ·Í‡ È¤ˆÓ, ÌÔÚÂ› Ó·

ÂÎÏËÊıÂ› ˆ˜ ·Ó·Ì¤ÙÚËÛË ÌÂÙ·Í‡ 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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏178k

ÕÁÓˆÛÙÔ˜ ‚˘˙·ÓÙÈÓfi˜ Ó·fi˜, Ô˘ Â› ÙË˜ ÔıˆÌ·ÓÈÎ‹˜ ÂÚÈfi‰Ô˘

ÌÂÙ·ÙÚ¿ËÎÂ ÛÂ Ù¤ÌÂÓÔ˜. μÚ›ÛÎÂÙ·È ÛÙË ÁˆÓ›· ÙˆÓ Ô‰ÒÓ ∂ÁÓ·Ù›·˜

Î·È Ã·ÏÎ¤ˆÓ. ∫·Ù¿ Ì›· ¿Ô„Ë, ÔÈ ÙÔÈ¯ÔÁÚ·Ê›Â˜ Ô˘ ·ÔÎ·Ï‡ÊıËÎ·Ó

˘Ô‰ËÏÒÓÔ˘Ó fiÙÈ ‹Ù·Ó Ó·fi˜ ÙË˜ ¶·Ó·Á›·˜ Î·È ÂÓ‰¤¯ÂÙ·È Ó· ‹Ù·Ó

Î·ıÔÏÈÎfi ÌÔÓ‹˜. ªÂÙ¿ ÙËÓ ·ÂÏÂ˘ı¤ÚˆÛË, Ô Ó·fi˜ Î·ı·ÁÈ¿ÛÙËÎÂ

ÙÈÌÒÌÂÓÔ˜ ÛÙÔ fiÓÔÌ· ÙË˜ ¶·Ó·Á›·˜ ÙˆÓ Ã·ÏÎ¤ˆÓ (Ë ÔÓÔÌ·Û›· ÙÔ˘

ÙÂÌ¤ÓÔ˘˜ ‹Ù·Ó «Δ¤ÌÂÓÔ˜ ÙˆÓ Ã·ÏÎ¤ˆÓ»). ∏ È‰Ú˘ÙÈÎ‹ ÂÈÁÚ·Ê‹ ÙÔ˘

ÛÙÔ ˘¤Úı˘ÚÔ ÙË˜ ÂÈÛfi‰Ô˘ ‰Â›¯ÓÂÈ fiÙÈ ·ÓÂÁ¤ÚıËÎÂ ÛÙ· 1028 ÛÂ

«ÚÈÓ ‚¤‚ËÏÔÓ ÙfiÔÓ». ∏ ‰È·ÊÔÚ¿ ÙË˜ ÛÙ¿ıÌË˜ ÙÔ˘ ÂÈ¤‰Ô˘ ÙÔ˘

Ó·Ô‡ ·fi ÙÔ ÛËÌÂÚÈÓfi Â›Â‰Ô ÙÔ˘ ‰ÚfiÌÔ˘ Ì·ÚÙ˘ÚÂ› ÙÈ˜ ÌÂÙ·‚ÔÏ¤˜

Ô˘ ˘¤ÛÙË ÙÔ ·Ó¿ÁÏ˘ÊÔ ÙË˜ fiÏË˜, ÂÈ‰ÈÎ¿ ÛÙÔ ÛËÌÂ›Ô ·˘Ùfi. ∏ Ï‹„Ë

–·Ó ÎÚ›ÓÔ˘ÌÂ ·fi ÙËÓ Â˘¯¤ÚÂÈ· ÌÂ ÙËÓ ÔÔ›· Î˘ÎÏÔÊÔÚÔ‡Ó Î¿Ú·,

Ô‰‹Ï·Ù· Î·È Î·ÚfiÙÛÈ·, Î·ıÒ˜ 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¿ ÛÙÔÈ¯Â›· ÙË˜ ÊˆÙÔÁÚ·-

Ê›·˜, Â›Ó·È ÙˆÓ Ì¤ÛˆÓ ÙË˜ ‰ÂÎ·ÂÙ›·˜ ÙÔ˘ 1950.

¶·Ó·Á›· Ã·ÏÎ¤ˆÓ, ‰ÂÎ·ÂÙ›· 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

ª ¡ ∏ ª ∂ π ∞77

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏180k

ª¿ÏÏÔÓ ·fi ÛÎ·ÏˆÛÈ¿ ÙË˜ ¶·Ó·Á›·˜ ÙˆÓ Ã·ÏÎ¤ˆÓ, Ô ÊˆÙÔÁÚ¿ÊÔ˜

·ÂÈÎfiÓÈÛÂ ÙÔÓ ÂÈÌÂÏËÌ¤ÓÔ Î‹Ô ÙÔ˘ Ó·Ô‡, ÙÔ Î¿Ùˆ Ì¤ÚÔ˜ ÙË˜ ¶Ï·-

ÙÂ›·˜ ¢ÈÎ·ÛÙËÚ›ˆÓ Î·È ÙÔ ª¤Ë Ã·Ì¿Ì (ÁÓˆÛÙfi ÛÙÔ˘˜ ÓÂfiÙÂÚÔ˘˜

£ÂÛÛ·ÏÔÓÈÎÂ›˜ ˆ˜ «§Ô˘ÙÚ¿ ¶·Ú¿‰ÂÈÛÔ˜»), ÎÙ›ÛÌ· ÙÔ˘ 15Ô˘ ·ÈÒÓ·.

¢ÂÍÈ¿ Ë Ô‰fi˜ ∂ÁÓ·Ù›·. ∏ ·Ô‰È‰fiÌÂÓË ¯ÚÔÓÔÏÔÁ›· Û˘Ì‚·‰›˙ÂÈ ÌÂ ÙÔ

ÂÚÈÂ¯fiÌÂÓÔ ÙË˜ ÊˆÙÔÁÚ·Ê›·˜. [™ÙÔ ÏÔ˘ÙÚfi Ô Î·ı·ÚÈÛÌfi˜ Á›ÓÂÙ·È ÌÂ

ÓÂÚfi, ÛÙÔ ¯·Ì¿Ì ÌÂ ·ÙÌfi].

ΔÔ ÚÔ·‡ÏÈÔ ÙË˜ ¶·Ó·Á›·˜ ÙˆÓ Ã·ÏÎ¤ˆÓ Î·È ÙÔ ª¤Ë Ã·Ì¿Ì, 1963

£ÂÛÛ·ÏÔÓ›ÎË, ÁÂÓÈÎ‹ ¿Ô„È˜ 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

£ ∂ ™ ™ ∞ § √ ¡ 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· ÌÓËÌÂ›· Î·È Î·Ù·ÁÚ¿ÊÂÈ ÙË Û¯¤-

ÛË ÙÔ˘˜ ÌÂ ÙÔÓ ÂÚÈ‚¿ÏÏÔÓÙ· ¯ÒÚÔ. ∫ÂÓÙÚÈÎ‹ ı¤ÛË ¤¯ÂÈ Ô ÕÁÈÔ˜

¢ËÌ‹ÙÚÈÔ˜. ¶ÔÏ‡ ÎÔÓÙ¿ ÙÔ˘, ÙÔ °ÂÓ› [¡¤Ô] Ã·Ì¿Ì, Â› ÙË˜ 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 Ì¤ÚÔ˜ ÙË ÊˆÙÔÁÚ·Ê›·˜ ‰È·ÎÚ›ÓÂÙ·È Ô ¿ÁÓˆÛÙÔ˜ ‚˘˙·ÓÙÈÓfi˜

Ó·fi˜ Ô˘ ÙÈÌ¿Ù·È ÛÙÔ fiÓÔÌ· ÙÔ˘ ¶ÚÔÊ‹ÙË ∏Ï›·. μÔÚÂ›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 ·ÔÎ·Ù·ÛÙ·ıÂ›

·fi ÙÈ˜ ˙ËÌ›Â˜ ÙË˜ ˘ÚÎ·ÁÈ¿˜ ÙÔ˘ 1917, ·ÏÏ¿ ÛÙËÓ Ô‰fi ∫·ÛÛ¿Ó‰ÚÔ˘

‰ÂÓ ¤¯Ô˘Ó ·ÓÂÁÂÚıÂ› ÔÏ˘Î·ÙÔÈÎ›Â˜, ÛÙÔÈ¯Â›· Ô˘ ÙÔÔıÂÙÔ‡Ó ¯ÚÔ-

ÓÈÎ¿ ÙË Ï‹„Ë ÛÙË ‰ÂÎ·ÂÙ›· ÙÔ˘ 1950.

ªÓËÌÂ›· ÙË˜ fiÏË˜ Ì¤Û· ÛÙÔÓ ·ÛÙÈÎfi ÈÛÙfi, ‰ÂÎ·ÂÙ›· 1950

ÕÔ„È˜ £ÂÛÛ·ÏÔÓ›ÎË˜

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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏184k

√ ‚˘˙·ÓÙÈÓfi˜ Ó·fi˜ ÙÔ˘ ∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘ Î·Ù·ÛÙÚ¿ÊËÎÂ Î·Ù¿ ÙËÓ

˘ÚÎ·ÁÈ¿ ÙÔ˘ 1917. ∏ ·ÔÎ·Ù¿ÛÙ·Û‹ ÙÔ˘ Û˘Ó‰¤ıËÎÂ ÌÂ ÏËıÒÚ·

ÚÔ‚ÏËÌ¿ÙˆÓ. ∏ ÚÒÙË ·Ó·ÛÙËÏˆÙÈÎ‹ Ê¿ÛË ‰È‹ÚÎÂÛÂ ˆ˜ ÙÔ 1937.

™ÙË Û˘Ó¤¯ÂÈ· Ë ·ÔÎ·Ù¿ÛÙ·ÛË ‰È·ÎfiËÎÂ ÏfiÁˆ ÙˆÓ ‰ÂÈÓÒÓ ÂÚÈ-

ÛÙ¿ÛÂˆÓ Î·È Â·Ó·Ï‹ÊıËÎÂ ÙÔ 1946, fiÙ·Ó Û˘ÛÙ‹ıËÎÂ È‰È·›ÙÂÚÔ˜

ÔÚÁ·ÓÈÛÌfi˜ ÁÈ· ÙË Û˘ÁÎ¤ÓÙÚˆÛË ÙˆÓ ·Ó·ÁÎ·›ˆÓ fiÚˆÓ. ŒÚ·ÓÔÈ Î·È

Û˘ÛÙËÌ·ÙÈÎ‹ ÚÔÛ¤ÏÎ˘ÛË ÂÈÛÊÔÚÒÓ, Î·ıÒ˜ Î·È Ë ÂÓ›Û¯˘ÛË ÙÔ˘

¢‹ÌÔ˘ £ÂÛÛ·ÏÔÓ›ÎË˜ Î·È ÙÔ˘ ∂ÌÔÚÈÎÔ‡ Î·È μÈÔÌË¯·ÓÈÎÔ‡ ∂ÈÌÂÏË-

ÙËÚ›Ô˘, ‰ÂÓ Â¿ÚÎÂÛ·Ó ÁÈ· ÙË Û˘ÁÎ¤ÓÙÚˆÛË ÙÔ˘ ÔÛÔ‡. ΔÔ ÔÈÎÔÓÔ-

ÌÈÎfi Úfi‚ÏËÌ· Ï‡ıËÎÂ fiÙ·Ó Ù· Δ·¯˘‰ÚÔÌÂ›· Î˘ÎÏÔÊfiÚËÛ·Ó ÂÈ‰ÈÎfi

ÁÚ·ÌÌ·ÙfiÛËÌÔ ÁÈ· ÙËÓ ·Ó·ÛÙ‹ÏˆÛË ÙÔ˘ Ó·Ô‡, ÛÙÔÓ ÔÔ›ÔÓ ÂÚÈ‹Ï-

ıÂ ÔÛÔÛÙfi 45% ÙˆÓ ÂÛfi‰ˆÓ. ŒÙÛÈ, ÌÂ ÌÂÁ·ÏÔÚ¤ÂÈ· ¤ÁÈÓ·Ó Ù·

ÂÁÎ·›ÓÈ· ÙÔ˘ Ó·Ô‡ ÙÔ 1948, ÌÂ ÙËÓ ·ÚÔ˘Û›· ÙË˜ ÔÏÈÙÈÎ‹˜ ËÁÂÛ›·˜

ÙË˜ ¯ÒÚ·˜. ∏ Ï‹„Ë ÙË˜ ÊˆÙÔÁÚ·Ê›·˜ ¤¯ÂÈ ˆ˜ terminus ante quem

·˘Ù‹ ÙË ¯ÚÔÓÔÏÔÁ›·, ‰ÈfiÙÈ fi¯È ÌfiÓÔÓ Ë ÛÙ¤ÁË Â›Ó·È ÔÏÔÎÏËÚˆÌ¤ÓË

(·ÔÚÚfiÊËÛÂ ÌÂÁ¿ÏÔ Ì¤ÚÔ˜ ÙË˜ ÚÔÛ¿ıÂÈ·˜ Î·Ù¿ ÙË ‰Â‡ÙÂÚË ·Ó·-

ÛÙËÏˆÙÈÎ‹ Ê¿ÛË), ·ÏÏ¿ Î·È Ô ÂÚÈ‚¿ÏÏˆÓ ¯ÒÚÔ˜ Â›Ó·È ‰È·ÌÔÚÊˆÌ¤-

ÓÔ˜. Δ· Ì¿ÚÌ·Ú·, Ô˘ ‚Ú›ÛÎÔÓÙ·È Û˘ÁÎÂÓÙÚˆÌ¤Ó· ·ÚÈÛÙÂÚ¿ ÛÙËÓ

·˘Ï‹, ÚÔ¤Ú¯ÔÓÙ·È ·fi ÙÔ Î·ÙÂÛÙÚ·ÌÌ¤ÓÔ Â‚Ú·˚Îfi ÎÔÈÌËÙ‹ÚÈÔ. ™ÙËÓ

·˘Ï‹, ·ÎfiÌË, ‰È·ÎÚ›ÓÂÙ·È Ë ÊÈ¿ÏË ÙÔ˘ Ó·Ô‡. μÔÚÂÈÔ·Ó·ÙÔÏÈÎ¿, ÍÂ¯ˆ-

Ú›˙Ô˘Ó ÔÈ ÙÚÔ‡ÏÔÈ ÙÔ˘ °ÂÓ› Ã·Ì¿Ì. Δ¤ÏÔ˜, ÛÙÔ ‰ÂÍÈfi ¿Óˆ ¿ÎÚÔ ÙË˜

ÊˆÙÔÁÚ·Ê›·˜ Ê·›ÓÂÙ·È Ë ÊÈ¿ÏË ÙÔ˘ ∞Ï·Ù˙¿ πÌ·Ú¤Ù (‰ÂÓ ˘Ê›ÛÙ·Ù·È

Ï¤ÔÓ). ™Â ÚÒÙÔ Ï¿ÓÔ: ‰ÂÍÈ¿ Ë Ô‰fi˜ ª·ÎÂ‰ÔÓÈÎ‹˜ ∞Ì‡ÓË˜ Î·È ·ÚÈ-

ÛÙÂÚ¿ –·‰È·ÌfiÚÊˆÙÔ˜ ·ÎfiÌË- Ô ¯ÒÚÔ˜ ÙÔ˘ ÌÈÎÚÔ‡ ¿ÚÎÔ˘, fiÔ˘

¿ÏÏÔÙÂ ‚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

ª ¡ ∏ ª ∂ π ∞80

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏186k

∏ ‰˘ÙÈÎ‹ ÏÂ˘Ú¿ ÙÔ˘ Ó·Ô‡ ÙÔ˘ ∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘. ∏ ÂÈÎfiÓ· Û˘ÌÏË-

ÚÒÓÂÈ ÙËÓ ÚÔËÁÔ‡ÌÂÓË ˆ˜ ÚÔ˜ ÙËÓ ·›ÛıËÛË ÙË˜ «ÎÂÓ‹˜ fiÏË˜». √

ÔÓËÏ¿ÙË˜, ›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·

ÛÎ·ÏÔ¿ÙÈ· Ô˘ ÂÚÓÔ‡Ó ÛÙ· ‰˘ÙÈÎ¿ ÙÔ˘ Ó·Ô‡. ∏ Ô‰fi˜ ∞Á›Ô˘ ¢ËÌË-

ÙÚ›Ô˘ Â›Ó·È ÏÈıfiÛÙÚˆÙË, fiˆ˜ ‹Ù·Ó Î·È Ë ·Ú¿ÏÏËÏfi˜ ÙË˜ Ô‰fi˜ ∫·Û-

Û¿Ó‰ÚÔ˘.

ÕÁÈÔ˜ ¢ËÌ‹ÙÚÈÔ˜, ‰ÂÎ·ÂÙ›· 1950

∏ fiÏÈ˜ ‹ÎÌ·ÛÂ ˆ˜ ‚˘˙·ÓÙÈÓfiÓ Î¤ÓÙÚÔÓ. ∂Î ÙÔ˘ ÏfiÁÔ˘ ·˘ÙÔ‡, ‰È·ÙËÚÂ› Û‹ÌÂÚÔÓ Ù· ÂÚÈÛÛfiÙÂÚ· ÂÎ ÙˆÓ ¤ÚÁˆÓ ÙË˜ ‚˘˙·ÓÙÈÓ‹˜ Ù¤¯ÓË˜. ∞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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏188k

£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¯ÈÂ›ÛÎÔÔ Î·È ·ÚÈÛÙÂÚ¿ ÙÔ˘

ÙÔÓ ¤·Ú¯Ô ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜. √È ‰‡Ô ·˘Ù¤˜ ÌÔÚÊ¤˜ ÂÎÊÚ¿˙Ô˘Ó

ÂÎÂ›ÓÔ˘˜ Ô˘ ÊÚfiÓÙÈÛ·Ó ÁÈ· ÙËÓ ·ÓÔÈÎÔ‰fiÌËÛË ÙÔ˘ Ó·Ô‡, ÌÂÙ¿ ÙËÓ

Î·Ù·ÛÙÚÔÊ‹ ÙÔ˘ Î·Ù¿ ÙÔÓ ¤‚‰ÔÌÔ ·ÈÒÓ·. √ ¿ÁÈÔ˜ ·ÎÔ˘Ì¿ Ù· ¯¤ÚÈ·

ÙÔ˘ ÛÙÔ˘˜ ÒÌÔ˘˜ ÙÔ˘˜. ∏ ÂÈÁÚ·Ê‹ ÙÔ˘ ÁÏ˘ÙÔ‡ ¤¯ÂÈ ˆ˜ ÂÍ‹˜: «∫Ù›-

ÛÙ·˜ ıÂˆÚÂ›˜ ÙÔ˘˜ ·ÓÂÓ‰fiÍÔ˘ ‰fiÌÔ˘ ÂÎÂ›ıÂÓ ¤ÓıÂÓ Ì¿ÚÙ˘ÚÔ˜

¢ËÌËÙÚ›Ô˘/ ÙÔÓ ‚¿Ú‚·ÚÔÓ ÎÏ‡‰ˆÓ· ‚·Ú‚¿ÚˆÓ ÛÙfiÏˆÓ ÌÂÙ·ÙÚ¤Ô-

ÓÙÔ˜ Î·È fiÏÈÓ Ï˘ÙÚÔ˘Ì¤ÓÔ˘»

ΔÔ „ËÊÈ‰ˆÙfi ÙÔ˘ ∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘ ÌÂ ÙÔ˘˜ ÎÙ›ÛÙÂ˜ (Ï‹„Ë 1963)

æËÊÈ‰ˆÙfi 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

ª ¡ ∏ ª ∂ π ∞82

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ΔÔ ÌÂ˙ÂÛÙ¤ÓÈ (Ù˘ÈÎ‹ ÎÏÂÈÛÙ‹ ·ÁÔÚ¿ ÔÏ˘Ù›ÌˆÓ ÂÈ‰ÒÓ) ÙË˜ £ÂÛÛ·-

ÏÔÓ›ÎË˜ ·ÓÂÁ¤ÚıËÎÂ ÛÙÈ˜ ÚÒÙÂ˜ ‰ÂÎ·ÂÙ›Â˜ ÌÂÙ¿ ÙËÓ ÔıˆÌ·ÓÈÎ‹

Î·Ù¿ÎÙËÛË ÙË˜ fiÏË˜ (1430), ÛÙË ÛËÌÂÚÈÓ‹ Ô‰fi μÂÓÈ˙¤ÏÔ˘, Ï›ÁÔ

‚ÔÚÂÈfiÙÂÚ· ·fi ÙË ÛËÌÂÚÈÓ‹ Ô‰fi ∂ÚÌÔ‡. ∂Í·ÎÔÏÔ˘ıÂ› Ó· ¯ÚËÛÈÌÔ-

ÔÈÂ›Ù·È (ÌÂ ÔÏÏ¤˜ ÌÂÙ·ÙÚÔ¤˜) ·ÎfiÌË Î·È Û‹ÌÂÚ·. ∏ ÔÈÎÔ‰ÔÌ‹ ÌÂ

ÙÔ˘˜ ÚÔÂÍ¤¯ÔÓÙÂ˜ ˘·ÏÔÊÚ¿ÎÙÂ˜, ÛÙ· ‰ÂÍÈ¿ (Ì¤Á·ÚÔ «∂ÚÌÂ›ÔÓ»:

ÔÈÎÔ‰ÔÌ‹ıËÎÂ ÙÔ 1925), ÂÍ·ÎÔÏÔ˘ıÂ› Ó· ˘Ê›ÛÙ·Ù·È, ÙÔ ›‰ÈÔ Î·È Ë

ÔÈÎÔ‰ÔÌ‹ ÛÙË ÁˆÓ›· ÌÂ 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 ÙË˜ ∂ÌÔÚÈÎ‹˜ ∂ÓÒÛÂˆ˜. ∏ ∂ÌÔÚÈÎ‹ ŒÓˆÛË ¤·„Â

Ó· ÏÂÈÙÔ˘ÚÁÂ› ÙÔ 1959 Î·È ÙÔ «∫¿Ô˘Ê ÃÔÊ» ÂÁÎ·Ù·ÛÙ¿ıËÎÂ ÛÙÔ ÎÙ›-

ÚÈÔ ÙÔ 1961. √È ÏËÚÔÊÔÚ›Â˜ ·˘Ù¤˜ Ì·˜ ‚ÔËıÔ‡Ó Ó· ¯ÚÔÓÔÏÔÁ‹-

ÛÔ˘ÌÂ ÙË Ï‹„Ë ÌÂÙ¿ ÙÔ 1961.

∏ ÛÎÂ‹ ÙÔ˘ ÌÂ˙ÂÛÙÂÓ›Ô˘ ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜ (Ï‹„Ë ‰ÂÎ·ÂÙ›·˜ 1960)

Δ· ‰ËÌfiÛÈ· ÏÔ˘ÙÚ¿ ÙË˜ fiÏÂˆ˜ ¯ÚÔÓÔÏÔÁÔ‡ÓÙ·È ·fi ÙË ‚˘˙·ÓÙÈÓ‹ ÂÚ›Ô‰Ô Î·È ·ÔÙÂÏÔ‡Ó ·ÍÈfiÏÔÁ· ¤ÚÁ· ÙË˜ Ù¤¯ÓË˜

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

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ΔÔ ÛËÌÂÚÈÓfi ÎÙ›ÚÈÔ ÙÔ˘ ÀÔ˘ÚÁÂ›Ô˘ ª·ÎÂ‰ÔÓ›·˜ - £Ú¿ÎË˜, Â› ÙË˜

Ô‰Ô‡ ∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘, ÁÓˆÛÙfi ˆ˜ «¢ÈÔÈÎËÙ‹ÚÈÔ», ¿Ú¯ÈÛÂ Ó· ¯Ù›˙Â-

Ù·È ÙÔ 1891 –ÛÙË ı¤ÛË ÚÔËÁÔ‡ÌÂÓÔ˘ ‰ÈÔÈÎËÙËÚ›Ô˘- Î·È ÔÏÔÎÏËÚÒ-

ıËÎÂ ÙÔ ¤ÙÔ˜ 1895. ΔÔ ·Ú¯ÈÎfi ÎÙ‹ÚÈÔ ‹Ù·Ó Î·Ù¿ ¤Ó· fiÚÔÊÔ ¯·ÌË-

ÏfiÙÂÚÔ ·fi ÙË ÛËÌÂÚÈÓ‹ ÌÔÚÊ‹ ÙÔ˘. ™ÙÔ ÈÛfiÁÂÈÔ ‚Ú›ÛÎÔÓÙ·Ó Ù·

‰ËÌÔÙÔÏfiÁÈ·, Ù· ·Ó·ÎÚÈÙÈÎ¿ ÁÚ·ÊÂ›· Î·È ÙÔ ÏËÌÌÂÏÂÈÔ‰ÈÎÂ›Ô, Ë

ÌÂÁ¿ÏË ·›ıÔ˘Û· ÙÔ˘ ÏÔÁÈÛÙËÚ›Ô˘ Î·È ÙÔ ÁÚ·ÊÂ›Ô ÙÔ˘ ÔÈÎÔÓÔÌÈÎÔ‡

ÂÊfiÚÔ˘. ∂›ÛË˜, ÙÔ ÎÙËÌ·ÙÔÏfiÁÈÔ, ÙÔ ˘ÔıËÎÔÊ˘Ï·ÎÂ›Ô Î·È ÙËÓ

˘ËÚÂÛ›· ‰È·¯Â›ÚÈÛË˜ ÙˆÓ ‚·ÎÔ˘Ê›ˆÓ. ™ÙÔ ·ÓÒÁÂÈÔ ‚ÚÈÛÎfiÙ·Ó Ë

ÌÂÁ¿ÏË ·›ıÔ˘Û· ÙÔ˘ ÓÔÌ·Ú¯È·ÎÔ‡ Û˘Ì‚Ô˘Ï›Ô˘, Ë ¢ÈÂ‡ı˘ÓÛË ∂ÍˆÙÂ-

ÚÈÎÒÓ ÀÔı¤ÛÂˆÓ, Ë ‰ÈÂ‡ı˘ÓÛË ÙË˜ ·ÛÙ˘ÓÔÌ›·˜, ÙÔ ÚˆÙÔ‰ÈÎÂ›Ô Î·È

ÙÔ ÂÌÔÚÔ‰ÈÎÂ›Ô. Δ¤ÏÔ˜, ÛÙÔ ‰Â‡ÙÂÚÔ ¿ÙˆÌ· ÛÙÂÁ·˙fiÙ·Ó ÙÔ ÈÂÚÔ‰È-

ÎÂ›Ô Î·È ÙÔ Û˘Ì‚ÔÏ·ÈÔÁÚ·ÊÂ›Ô.

ΔÔ ¢ÈÔÈÎËÙ‹ÚÈÔ ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜, Ï‹„Ë ÚÈÓ ·fi ÙÔ 1912

ΔÔ ÎÙ›ÚÈÔ ÙÔ˘ ˘Ô˘ÚÁÂ›Ô˘ μÔÚÂ›Ô˘ ∂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

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∏ ÛÎËÓ‹ ‰È·‰Ú·Ì·Ù›˙ÂÙ·È ÛÙËÓ ¤ÍÔ‰Ô ÙÔ˘ ÚÔ·˘Ï›Ô˘ ÙÔ˘ ‰ÈÔÈÎËÙË-

Ú›Ô˘, ÛÙÔ ÔÔ›Ô ÌÂÙ¿ ÙËÓ ·ÂÏÂ˘ı¤ÚˆÛË ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜ (√ÎÙÒ-

‚ÚÈÔ˜ 1912), ¤¯Ô˘Ó ÂÁÎ·Ù·ÛÙ·ıÂ› Ù· ÁÚ·ÊÂ›· ÙË˜ °ÂÓÈÎ‹˜ ¢ÈÔÈÎ‹ÛÂ-

ˆ˜ ª·ÎÂ‰ÔÓ›·˜, ÙË˜ ¡ÔÌ·Ú¯›·˜ £ÂÛÛ·ÏÔÓ›ÎË˜ Î·È ¿ÏÏˆÓ ‰ËÌfiÛÈˆÓ

˘ËÚÂÛÈÒÓ. ΔÔÓ ª¿ÚÙÈÔ ÙÔ˘ 1915 Î·Ù·ÚÁ‹ıËÎ·Ó ·fi ÙË ‚Ú·¯‡‚È·

Î˘‚¤ÚÓËÛË ¢ËÌËÙÚ›Ô˘ °Ô‡Ó·ÚË fiÏÂ˜ ÔÈ ˘ÊÈÛÙ¿ÌÂÓÂ˜ ÁÂÓÈÎ¤˜ ‰ÈÔÈÎ‹-

ÛÂÈ˜. ŒÙÛÈ, Ô ·ÓÒÙÂÚÔ˜ ÎÚ·ÙÈÎfi˜ ÏÂÈÙÔ˘ÚÁfi˜ ÛÙÔ ¢ÈÔÈÎËÙ‹ÚÈÔ ‹Ù·Ó Ô

ÓÔÌ¿Ú¯Ë˜. ø˜ Û˘Ó¤ÂÈ· ÙË˜ ·Ú¿‰ÔÛË˜ ÙÔ˘ ƒÔ‡ÂÏ, ÛÙÈ˜ 21.5.1916

Ô ™·Ú¿ÈÁ Î‹Ú˘ÍÂ ÛÙÚ·ÙÈˆÙÈÎfi ÓfiÌÔ Î·È Î·Ù¤Ï·‚Â ÙÔ ¢ÈÔÈÎËÙ‹ÚÈÔ.

∂ÏÏËÓÈÎ‹ ÛÙÚ·ÙÈˆÙÈÎ‹ ÌÔÓ¿‰· ·Ô¯ˆÚÂ› ˘fi ÙËÓ ·ÂÈÏ‹ ÙˆÓ fiÏˆÓ.

¶¿ÓÙˆ˜, ÔÈ °¿ÏÏÔÈ ÙË˜ ·Ô‰›‰Ô˘Ó ÙÈÌ¤˜, Î·Ù¿ ÙËÓ ÛÙÚ·ÙÈˆÙÈÎ‹ ‰ÂÔ-

ÓÙÔÏÔÁ›·.

™ÙËÓ Â›ÛÔ‰Ô ÙÔ˘ ¢ÈÔÈÎËÙËÚ›Ô˘

21 ª·›Ô˘ 1916. √ ÂÈÎÂÊ·Ï‹˜ ÙˆÓ ÛÙÚ·ÙÂ˘Ì¿ÙˆÓ ÙË˜ «∞ÓÙ¿ÓÙ» Á¿ÏÏÔ˜ ÛÙÚ·ÙËÁfi˜ ™·Ú¿ÈÁ ÎËÚ‡ÛÛÂÈ ÛÙÚ·ÙÈˆÙÈÎfi 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

ª ¡ ∏ ª ∂ π ∞85

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™ÙÈ˜ ·Ú¯¤˜ ÙÔ˘ 1954, ÚÔÎÂÈÌ¤ÓÔ˘ Ó· Û˘ÁÎÂÓÙÚˆıÔ‡Ó ÔÈ ‰ËÌfiÛÈÂ˜

˘ËÚÂÛ›Â˜ ÛÂ ¤Ó· ¯ÒÚÔ, ·ÔÊ·Û›ÛÙËÎÂ Ë Î·ı’ ‡„Ô˜ Â¤ÎÙ·ÛË ÙÔ˘

¢ÈÔÈÎËÙËÚ›Ô˘ Î·Ù¿ ¤Ó·Ó fiÚÔÊÔ. ΔÔ ¤ÚÁÔ ÔÏÔÎÏËÚÒıËÎÂ ÛÂ ‰È¿ÛÙË-

Ì· ÌfiÓÔ ÔÎÙÒ ÌËÓÒÓ. «[ΔÔ ¤ÚÁÔ Ô˘ ¿Ú¯ÈÛÂ] ÚÔ ÔÎÙ·Ì‹ÓÔ˘»,

ÛËÌÂÈÒÓÂÈ ‰ËÌÔÛÈÔÁÚ·ÊÈÎ‹ ·ÓÙ·fiÎÚÈÛË ÙÔ ºÂ‚ÚÔ˘¿ÚÈÔ ÙÔ˘ 1955,

«ÂÂÚ·ÙÒıË ÙËÓ Ï‹Í·Û· Â‚‰ÔÌ¿‰·. ÀÔÏÂ›ÂÙ·È Ó· ÚÔÛÙÂıÔ‡Ó

ÂÏ·ÈÔ¯ÚˆÌ·ÙÈÛÌÔ› ÙÈÓ¤˜ Î·È ¿ÏÏ·È ÏÂÙÔÌ¤ÚÂÈ·È Î·› ÂÛˆÙÂÚÈÎ·› Î·Ù·-

ÛÎÂ˘·›. √ ÚÔÛÙÂıÂ›˜ ¤ÌÙÔ˜ fiÚÔÊÔ˜ Ê¤ÚÂÈ Â› ÙÔ˘ ·ÂÙÒÌ·Ùfi˜ ÙÔ˘

ÙÔ ‚·ÛÈÏÈÎfiÓ ÛÙ¤ÌÌ·. ∂È˜ ÙÔÓ ‰Â‡ÙÂÚÔÓ fiÚÔÊÔÓ ÌÂ ÙÔ˘˜ ÂÍÒÛÙ·˜ ı·

Â›Ó·È Ù· ˘Ô˘ÚÁÈÎ¿ ÁÚ·ÊÂ›· Î·È ·È ·›ıÔ˘Û·È ‰ÂÍÈÒÛÂˆÓ Î·È ‰È·ÛÎ¤-

„ÂˆÓ, ÔÏ˘ÙÂÏ¤ÛÙÂÚ· ÂÍ fiÏˆÓ. ¶ÂÓÙ·ÒÚÔÊÔÓ, fiˆ˜ Î·Ù¤ÛÙË ÌÂ ÙËÓ

ÚÔÛı‹ÎËÓ ÂÓfi˜ ·ÎfiÌË ÔÚfiÊÔ˘, ¤¯ÂÈ ·Ó·Î·ÈÓÈÛı‹ ÚÈ˙ÈÎÒ˜ ÂÈ˜ ÙÔ

ÂÛˆÙÂÚÈÎfiÓ ÙÔ˘ Î·È ‹ÏÏ·Í·Ó fi„ÈÓ Ù· ·Ï·È¿ ·Ó·ÙÔÏ›ÙÈÎ· ‰È·ÌÂÚ›-

ÛÌ·Ù¿ ÙÔ˘. Œ¯ÂÈ Û˘ÓÔÏÈÎÒ˜ 177 ‰ˆÌ¿ÙÈ·. √ ÚÔÛÙÂıÂ›˜ ¤ÌÙÔ˜

fiÚÔÊÔ˜ ÂÚÈÏ·Ì‚¿ÓÂÈ 48 ‰ˆÌ¿ÙÈ·».

ΔÔ ¢ÈÔÈÎËÙ‹ÚÈÔ ÌÂÙ¿ ÙËÓ Î·ı’‡„Ô˜ Â¤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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏198k

∏ ÂÈ¯ÂÈÚËÌ·ÙÈÎfiÙËÙ· ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜ Î·Ù¿ ÙÔÓ 19Ô ·ÈÒÓ· Û˘Ó-

‰¤ıËÎÂ ÌÂ ÙËÓ ÔÈÎÔÁ¤ÓÂÈ· ∞ÏÏ·Ù›ÓË, Ë ÔÔ›· ‰È¤ÚÂ„Â ÛÂ fiÏÔ˘˜ ÙÔ˘˜

ÔÈÎÔÓÔÌÈÎÔ‡˜ ÎÏ¿‰Ô˘˜, ·ÏÏ¿ Î·È ÛÙËÓ ÎÔÈÓˆÓÈÎ‹ ˙ˆ‹ ÙË˜ fiÏË˜.

ÿ‰Ú˘Û·Ó ÙÔ ÌÂÁ·Ï‡ÙÂÚÔ ·ÏÂ˘ÚfiÌ˘ÏÔ ÛÙÔ £ÂÛÛ·ÏÔÓ›ÎË ÚÈÓ ·fi Ù·

Ì¤Û· ÙÔ˘ 19Ô˘ ·ÈÒÓ·, ÎÔÓÙ¿ ÛÙÔ ¶Â‰›Ô ÙÔ˘ ÕÚÂˆ˜. ™ÙË ‰ÂÎ·ÂÙ›· ÙÔ˘

1880 ‰ËÌÈÔ˘ÚÁ‹ıËÎÂ Ó¤Ô˜ ÂÙ·fiÚÔÊÔ˜ ·Ú·ı·Ï¿ÛÛÈÔ˜ ·ÏÂ˘ÚfiÌ˘-

ÏÔ˜ ÛÙË ÛËÌÂÚÈÓ‹ ı¤ÛË, Ô˘ ÔÓÔÌ·ÙÔ‰fiÙËÛÂ Î·È ÙËÓ ÂÚÈÔ¯‹ (∞ÏÏ·-

Ù›ÓË). √ Ì‡ÏÔ˜ ·˘Ùfi˜ Î¿ËÎÂ ÛÙ· Ù¤ÏË ÙÔ˘ 19Ô˘ ·ÈÒÓ· Î·È ·ÓÔÈÎÔ‰Ô-

Ì‹ıËÎÂ ÛÙËÓ ›‰È· ı¤ÛË ÙÔ 1900. ¶ËÁ‹ ÙË˜ ÚÒÙË˜ ÂÏÏËÓÈÎ‹˜ ‰ÈÔ›ÎË-

ÛË˜ ÌÂÙ¿ ÙËÓ ·ÂÏÂ˘ı¤ÚˆÛË ÛËÌÂÈÒÓÂÈ: «∂›Ó·È Ô ÌÂÁ·Ï‡ÙÂÚÔ˜ ·ÏÂ˘-

ÚfiÌ˘ÏÔ˜ ÙË˜ ∞Ó·ÙÔÏ‹˜ Î·Ù¿ ÙÂ ÙËÓ ¤ÎÙ·ÛÈÓ Î·È ·ÂÈÚ›·Ó ÙˆÓ ÌË¯·-

ÓËÌ¿ÙˆÓ ·˘ÙÔ‡ ˆ˜ Î·È ÙËÓ ÌÂÁ¿ÏËÓ ·˘ÙÔ‡ ·Ú·ÁˆÁ‹Ó. ∏ fiÏË ·˘ÙÔ‡

¤ÎÙ·ÛÈ˜ Â›Ó·È 15.000 Ù.Ì. ÂÚ›Ô˘, ÂÎ ÙˆÓ ÔÔ›ˆÓ ÙÔ ÂÓ ‰Â‡ÙÂÚÔÓ

ÂÚ›Ô˘ Î·Ù¤¯Ô˘ÛÈ ÙÔ ÂÚÁÔÛÙ¿ÛÈÔÓ, ÌË¯·ÓÔÛÙ¿ÛÈÔÓ Î·È ‚ÔËıËÙÈÎ¿

Û˘ÓÂÚÁÂ›·. ∫ÈÓÂ›Ù·È ‰È’ ·ÙÌÔ‡ Î·È ··Û¯ÔÏÂ› ‰‡Ó·ÌÈÓ 850 ›ˆÓ».

™Ù· 1926 ÔÈ ∞ÏÏ·Ù›ÓË ·ÔÍÂÓÒıËÎ·Ó Ï‹Úˆ˜ ·fi ÙËÓ È‰ÈÔÎÙ‹ÙÚÈ·

∞ÓÒÓ˘ÌÔ μÈÔÌË¯·ÓÈÎ‹ Î·È ∂ÌÔÚÈÎ‹ ∂Ù·ÈÚÂ›·, Ë ÔÔ›· ÂÚÈ‹ÏıÂ ÛÂ

ÎÂÊ·Ï·ÈÔ‡¯Ô˘˜ ·fi ÙË ¡fiÙÈ· ∂ÏÏ¿‰·. √ Ì‡ÏÔ˜ ¤¯ÂÈ ¿„ÂÈ Ó· ÏÂÈ-

ÙÔ˘ÚÁÂ› Î·È Ë ÂÚÈÔ¯‹ –Ô˘ ‚Ú›ÛÎÂÙ·È Ï¤ÔÓ Â‰Ò Î·È ÔÏÏ¿ ¯ÚfiÓÈ·

Ì¤Û· ÛÂ ·ÛÙÈÎfi ÂÚÈ‚¿ÏÏÔÓ- ÚÔÔÚ›˙ÂÙ·È ÁÈ· ·Ó¿Ï·ÛË.

√ ÌÂÁ·Ï‡ÙÂÚÔ˜ ·ÏÂ˘ÚfiÌ˘ÏÔ˜ ÙË˜ ∞Ó·ÙÔÏ‹˜!

∞ÏÂ˘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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏200k

¶ÂÚ› ÙÔ 1890 Ë ÔÈÎÔÁ¤ÓÂÈ· ∞ÏÏ·Ù›ÓË ÂÁÎ·Ù¤ÏÂÈ„Â ÙËÓ Î·ÙÔÈÎ›· ÙË˜

ÛÙË ÛËÌÂÚÈÓ‹ Ô‰fi ™˘ÁÁÚÔ‡ Î·È ÂÁÎ·Ù·ÛÙ¿ıËÎÂ ÛÙËÓ ÂÍÔ¯ÈÎ‹ ¤·˘-

Ï‹ ÙË˜, ÎÔÓÙ¿ ÛÙÔÓ ·ÏÂ˘ÚfiÌ˘ÏÔ, fiÔ˘ ÛÙÂÁ¿˙ÂÙ·È Û‹ÌÂÚ· Ë ÓÔÌ·Ú-

¯›· £ÂÛÛ·ÏÔÓ›ÎË˜. ΔÔ ·Ú¯ÔÓÙÈÎfi ·˘Ùfi, ÌÂ ÂÌ‚·‰fiÓ 4.060 ÙÂÙÚ·Áˆ-

ÓÈÎÔ‡˜ ‹¯ÂÈ˜ Î·È 31 ‰ˆÌ¿ÙÈ·, ÎfiÛÙÈÛÂ Ì·˙› ÌÂ ÙË ‰È·ÎfiÛÌËÛË

14.000 ¯Ú˘Û¤˜ Ï›ÚÂ˜. ™‡ÌÊˆÓ· ÌÂ ÙËÓ ÙÔÈÎ‹ ·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 ÂÎÂ› ÙÔ ·Ú¯ÔÓÙÈÎfi ÙÔ˘˜, fiÔ˘

¤˙ËÛ·Ó ˆ˜ ÙÔ 1908. ΔÔ ÎÙ›ÚÈÔ ¤ÁÈÓÂ ·ÁÎÔÛÌ›ˆ˜ ÁÓˆÛÙfi, ‰ÈfiÙÈ ÂÎÂ›

‰È¤ÌÂÈÓÂ Ô ¤ÎÙˆÙÔ˜ ÛÔ˘ÏÙ¿ÓÔ˜ ∞ÌÙÔ‡Ï Ã·Ì›ÓÙ Î·Ù¿ ÙËÓ ÂÎÙfiÈÛ‹

ÙÔ˘ ÛÙË £ÂÛÛ·ÏÔÓ›ÎË, ÌÂÙ¿ ÙÔ Î›ÓËÌ· ÙˆÓ ¡ÂfiÙÔ˘ÚÎˆÓ (1909-

1912). ™ÙÔ ¯ÒÚÔ ·˘Ùfi, Ô˘ ÂÚÈ‹ÏıÂ ÛÙÔ ÂÏÏËÓÈÎfi ‰ËÌfiÛÈÔ, ÂÁÎ·Ù·-

ÛÙ¿ıËÎÂ Î·Ù¿ ÙÔ ÚÒÙÔ ¤ÙÔ˜ ÙË˜ ÏÂÈÙÔ˘ÚÁ›·˜ ÙÔ˘ ÙÔ ¶·ÓÂÈÛÙ‹ÌÈÔ

£ÂÛÛ·ÏÔÓ›ÎË˜ (1926). ∏ ÊˆÙÔÁÚ·Ê›· ¤¯ÂÈ ‰ËÌÔÛÈÂ˘ÙÂ› ÛÂ ¤ÓÙ˘·

ÙÔ˘ 1926. ∏ Ï‹„Ë Ú¤ÂÈ Ó· Â›Ó·È ÙÔ˘ 1925.

√ÈÎ›· ∞ÏÏ·Ù›ÓË, Ó˘Ó ¡ÔÌ·Ú¯›·£ÂÛÛ·ÏÔÓ›ÎË˜, 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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏202k

°‡Úˆ ÛÙÔ ¤ÙÔ˜ 1890 –ÔˆÛ‰‹ÔÙÂ ÚÈÓ ·fi ÙÔ 1898, ÔfiÙÂ ÛËÌÂÈ-

ÒÓÂÙ·È ÛÂ ¯¿ÚÙË- ÔÈÎÔ‰ÔÌ‹ıËÎÂ ÙÔ ÎÙ›ÚÈÔ ÙË˜ ÔıˆÌ·ÓÈÎ‹˜ Ì¤ÛË˜

‰ÈÔÈÎËÙÈÎ‹˜ Û¯ÔÏ‹˜, Ô˘ ÔÓÔÌ·˙fiÙ·Ó «πÓÙ·ÓÙÈÁÈ¤». ΔÔ ÎÙ›ÚÈÔ ·˘Ùfi

¯ÚËÛÈÌÔÔÈ‹ıËÎÂ Î·Ù¿ ÙÔ˘˜ ‚·ÏÎ·ÓÈÎÔ‡˜ ÔÏ¤ÌÔ˘˜ Î·È Î·Ù¿ ÙÔÓ

ÚÒÙÔ ·ÁÎfiÛÌÈÔ fiÏÂÌÔ ˆ˜ ÓÔÛÔÎÔÌÂ›Ô. ∞Ô‰fiıËÎÂ ÛÙÔ ¶·ÓÂÈ-

ÛÙ‹ÌÈÔ £ÂÛÛ·ÏÔÓ›ÎË˜ ÙÔ 1927, ‰ÈfiÙÈ Ë ‚›Ï· ∞ÏÏ·Ù›ÓË ‚ÚÈÛÎfiÙ·Ó, ÌÂ

Ù· Ì¤ÙÚ· ÙË˜ ÂÔ¯‹˜, Ì·ÎÚÈ¿ ·fi ÙËÓ fiÏË. ŒÎÙÔÙÂ, ·Ú¿ ÙË ÌÂÙ·-

ÔÏÂÌÈÎ‹ ÎÙÈÚÈ·Î‹ ·Ó¿Ù˘ÍË ÙË˜ ·ÓÂÈÛÙËÌÈÔ‡ÔÏË˜, ÙÔ ·Ï·Èfi

·˘Ùfi ÎÙ›ÚÈÔ ÂÍ·ÎÔÏÔ˘ıÂ› Ó· ¯ÚËÛÈÌÔÔÈÂ›Ù·È ·fi ÙÔ ¶·ÓÂÈÛÙ‹ÌÈÔ.

™¯ÔÏ‹ πÓÙ·ÓÙÈÁÈ¤ - ¶·ÓÂÈÛÙ‹ÌÈÔ£ÂÛÛ·ÏÔÓ›ÎË˜ (ÚÔÔÏÂÌÈÎ‹Ï‹„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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏204k

∂ÈÎÔÓ›˙ÂÙ·È Ë ÚÔ˜ ÙË ı¿Ï·ÛÛ· fi„Ë ÙÔ˘ ÎÙÈÚ›Ô˘. ∫Ù›ÛıËÎÂ ÙÔ 1906

ˆ˜ Î·ÙÔÈÎ›· ÙÔ˘ ÙÚ·Â˙›ÙË π·ÎÒ‚ ªÔ‰È¿ÓÔ, ÌÂ Û¯¤‰È· ÙÔ˘ ÁÈÔ˘ ÙÔ˘

∂Ï› ªÔ‰È¿ÓÔ. ΔËÓ ÂÔ¯‹ ÂÎÂ›ÓË –Î·È Ì¤¯ÚÈ ÙËÓ ¤ÌÏËÛË ÙË˜ ı¿Ï·Û-

Û·˜ ÁÈ· ÙË ‰ËÌÈÔ˘ÚÁ›· ÙË˜ ÏÂˆÊfiÚÔ˘ ªÂÁ¿ÏÔ˘ ∞ÏÂÍ¿Ó‰ÚÔ˘- ÙÔ

ÔÈÎfiÂ‰Ô ‹Ù·Ó ·Ú·ı·Ï¿ÛÛÈÔ. ™ÙËÓ ÂÚ›Ô‰Ô ÙË˜ ¶ÚÔÛˆÚÈÓ‹˜

∫˘‚¤ÚÓËÛË˜ £ÂÛÛ·ÏÔÓ›ÎË˜ (ΔÚÈ·Ó‰Ú›·) ÙÔ ÎÙ›ÚÈÔ ¯ÚËÛÈÌÔÔÈ‹ıËÎÂ

ˆ˜ ¤‰Ú· ÙˆÓ ÙÚÈÒÓ ÌÂÏÒÓ ÙË˜. ΔÔÓ πÔ‡ÏÈÔ ÙÔ˘ 1917 ÙÔ ‰ËÌÔÙÈÎfi

Û˘Ì‚Ô‡ÏÈÔ ·ÔÊ¿ÛÈÛÂ ÙË Û‡Ó·„Ë ‰·ÓÂ›Ô˘ ÁÈ· ÙËÓ ·ÁÔÚ¿ ÙÔ˘ ÎÙÈÚ›-

Ô˘, ÛÙÔ ÔÔ›Ô «ÛÊ˘ÚËÏ·Ù‹ıËÎÂ Ë ·ÔÎ·Ù¿ÛÙ·ÛÈ˜ Î·È ÛˆÙËÚ›· ÙË˜

∂ÏÏËÓÈÎ‹˜ ¶·ÙÚ›‰Ô˜» Î·È Î·Ù¤ÛÙË, ¤ÙÛÈ, «ÂıÓÈÎfiÓ ÎÂÈÌ‹ÏÈÔÓ». ∏ ·fi-

Ê·ÛË ‰ÂÓ ÂÎÙÂÏ¤ÛÙËÎÂ ÏfiÁˆ ÙˆÓ ÂÚÈÛÙ¿ÛÂˆÓ. ΔÔ 1921 ¿ÏÏÔ ‰ËÌÔ-

ÙÈÎfi Û˘Ì‚Ô‡ÏÈÔ ·ÔÊ¿ÛÈÛÂ Ó· Û˘Ó¿„ÂÈ ÂÈÎÔÛ·ÂÙ¤˜ ‰¿ÓÂÈÔ ÁÈ· ÙËÓ

·ÁÔÚ¿ ÙË˜ ÔÈÎ›·˜ ÚÔÎÂÈÌ¤ÓÔ˘ –Ï¤ÔÓ- Ó· ¯ÚËÛÈÌ¤„ÂÈ ˆ˜ ·Ó¿ÎÙÔ-

ÚÔ ÙÔ˘ ‚·ÛÈÏ¤ˆ˜ ∫ˆÓÛÙ·ÓÙ›ÓÔ˘ ∞ã. ΔÔ ÂfiÌÂÓÔ ‰ËÌÔÙÈÎfi Û˘Ì‚Ô‡ÏÈÔ

(1922-1923) ·Ó·Î¿ÏÂÛÂ ÙË ‰ˆÚÂ¿, ‰Â‰ÔÌ¤ÓÔ˘ fiÙÈ Ô ∫ˆÓÛÙ·ÓÙ›ÓÔ˜

Â›¯Â ÂÎ‰Èˆ¯ıÂ› ·fi ÙËÓ ∂ÏÏ¿‰·. ΔÔ 1936, ÛÂ ¤Ó‰ÂÈÍË «·ÊÔÛÈÒÛÂˆ˜

ÙË˜ fiÏÂˆ˜» ÚÔ˜ ÙÔ «ÚfiÛˆÔ ÙË˜ ∞.ª. ÙÔ˘ ‚·ÛÈÏ¤ˆ˜», ¿ÏÏÔ

‰ËÌÔÙÈÎfi Û˘Ì‚Ô‡ÏÈÔ ·ÔÊ¿ÛÈÛÂ Ó· ‰ˆÚ›ÛÂÈ ÙÔ ÎÙ›ÚÈÔ ÛÙÔÓ °ÂÒÚÁÈÔ

μã. ΔÔ 1948 ÛÙÂÁ¿ÛÙËÎÂ ÛÙÔ ÎÙ›ÚÈÔ ÛÙÚ·ÙÈˆÙÈÎ‹ È·ÙÚÈÎ‹ Û¯ÔÏ‹ Î·È

·ÚÁfiÙÂÚ· ÈÂÚ·ÙÈÎ‹ Û¯ÔÏ‹. ΔÔ 1970 ÙÔ ÎÙ›ÚÈÔ ·Ú·¯ˆÚ‹ıËÎÂ ÛÙÔ

∂ıÓÔÏÔÁÈÎfi §·ÔÁÚ·ÊÈÎfi ªÔ˘ÛÂ›Ô, ÙÔ˘ ÔÔ›Ô˘ ·ÔÙÂÏÂ› ¤ÎÙÔÙÂ ÙËÓ

¤‰Ú·.

§·ÔÁÚ·ÊÈÎfi ∂ıÓÔÏÔÁÈÎfi ªÔ˘ÛÂ›Ô ª·ÎÂ‰ÔÓ›·˜ (Ï‹„Ë ‰ÂÎ·ÂÙ›·˜ 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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏206k

ΔÔ ÎÙ›ÚÈÔ ÙË˜ Ã∞¡£ ·ÓÂÁ¤ÚıËÎÂ ÙÔ 1925 ÚÔÎÂÈÌ¤ÓÔ˘ Ó· ÊÈÏÔÍÂ-

Ó‹ÛÂÈ –ÛÙÈ˜ ·ÓÔÈ¯Ù¤˜ Î·È ÎÏÂÈÛÙ¤˜ ·ıÏËÙÈÎ¤˜ ÂÁÎ·Ù·ÛÙ¿ÛÂÈ˜ ÙÔ˘- ÙÈ˜

‰Ú·ÛÙËÚÈfiÙËÙÂ˜ ÙË˜ ÓÂÔÏ·›·˜ ÙË˜ fiÏË˜. °È· ÙËÓ ·Ó¤ÁÂÚÛ‹ ÙÔ˘

ÂÓ‰È·Ê¤ÚıËÎÂ ÚÔÛˆÈÎ¿ Ô ÌËÙÚÔÔÏ›ÙË˜ °ÂÓÓ¿‰ÈÔ˜ ∞ÏÂÍÈ¿‰Ë˜, Ô

ÔÔ›Ô˜ ÚˆÙÔÛÙ¿ÙËÛÂ ÛÙÔ˘˜ Û¯ÂÙÈÎÔ‡˜ ÂÚ¿ÓÔ˘˜.

ΔÔ Ì¤Á·ÚÔ ÙË˜ Ã∞¡£ (‰ÂÎ·ÂÙ›· 1950)

ΔÔ Ì¤Á·ÚÔ ÙË˜ 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

kkk

Δ ∞ ∂ ¡ ¢ √ Δ ∂ ƒ ∞T H E I N N E R F E A T U R E S

√È ·ÂÈÎÔÓ›ÛÂÈ˜ ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜, ·fi ÙÔ 1880 Ì¤¯ÚÈ Û‹ÌÂÚ·, ‰›ÓÔ˘Ó

Û˘Ó‹ıˆ˜ ¤ÌÊ·ÛË ÛÙ· ÌÓËÌÂ›· ÙË˜, ÛÙËÓ ÚÔÎ˘Ì·›· ÙË˜ ‹ (ÔÈ ÓÂfiÙÂ-

ÚÂ˜) ÛÙÔÓ ¿ÍÔÓ· ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘, ÙÔ˘ ¶·ÓÂÈÛÙËÌ›Ô˘ Î·È ÙË˜ ¢ÈÂ-

ıÓÔ‡˜ ŒÎıÂÛË˜. À‹ÚÍ·Ó ˆÛÙfiÛÔ Î·È Ï‹„ÂÈ˜ ÙË˜ «·ÛÙÈÎ‹˜ ÂÓ‰Ô¯Ò-

Ú·˜» ÙË˜ fiÏË˜ Ô˘ ÔÊÂ›ÏÔÓÙ·È Â›ÙÂ ÛÙËÓ ÚÔÛ¿ıÂÈ· ÙÔ˘ ÊˆÙÔÁÚ¿-

ÊÔ˘ Ó· ·ÂÈÎÔÓ›ÛÂÈ ÌÈ· ÙÔÈÎ‹ È‰È·ÈÙÂÚfiÙËÙ· Â›ÙÂ ÛÙËÓ ·Ó¿ÁÎË ÙÔ˘ Ó·

·Ô‰ÒÛÂÈ ¤Ó·Ó ÓÂˆÙÂÚÈÛÌfi. ŒÙÛÈ, ÙÔ ˘ÏÈÎfi Ô˘ ·ÔÙÂÏÂ› ÙËÓ ÂÓfiÙËÙ·

·˘Ù‹, Ï‹„ÂÈ˜ ·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˜ ÙË˜ fiÏË˜.

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›· ÂÈ‚Â‚·ÈÒÓÂÙ·È

·fi Ù· ÂÛˆÙÂÚÈÎ¿ Â˘Ú‹Ì·Ù· ÙË˜ ÊˆÙÔÁÚ·Ê›·˜, ‰ËÏ·‰‹ ÙËÓ ·Ó·ÁÚ·-

Ê‹ ÙË˜ ÂˆÓ˘Ì›·˜ ÙÔ˘ Î·Ù·ÛÙ‹Ì·ÙÔ˜ ÛÙËÓ ÂÏÏËÓÈÎ‹ Î·È ÙËÓ Â‚Ú·˚-

Î‹, ÛÂ Û˘Ó‰˘·ÛÌfi ÌÂ ÙË ¯Ú‹ÛË ÊÂÛÈÒÓ, ÛÙÔÈ¯Â›· Ô˘ ‰Â›¯ÓÔ˘Ó fiÙÈ Ë

Ï‹„Ë ¤ÁÈÓÂ ÌÂÙ¿ ÙËÓ ·ÂÏÂ˘ı¤ÚˆÛË, ·ÏÏ¿ ÔÏ‡ ÎÔÓÙ¿ ÛÂ ·˘Ù‹Ó. ™ÙÔ

Î¤ÓÙÚÔ ÙË˜ ÊˆÙÔÁÚ·Ê›·˜ (¿Óˆ ·fi ÙÈ˜ Î·ÌÈÓ¿‰Â˜) ÂÈÎÔÓ›˙ÂÙ·È ÙÔ

·ÓÒÙÂÚÔ ÙÌ‹Ì· ÌÈÓ·Ú¤. ΔÔ ÛËÌÂ›Ô Ô˘ ÌÂÁÈÛÙÔÔÈÂ›Ù·È Ë Èı·ÓfiÙËÙ·

Û˘Ó‡·ÚÍË˜ ÙÂÌ¤ÓÔ˘˜ Î·È Û·ÚˆıÚÔÔÈÂ›Ô˘ Â›Ó·È Ù· ÔÈÎÔ‰ÔÌÈÎ¿

ÙÂÙÚ¿ÁˆÓ· 42, 43 Î·È 45, ÓÔÙ›ˆ˜ ÙË˜ ·Ï·È¿˜ Ô‰Ô‡ ∞ÏÂ˘ÚÔ¿˙·-

ÚÔ˘ (√˘Ó ∫··Ó›), Ë ÔÔ›· ·ÓÙÈÛÙÔÈ¯Ô‡ÛÂ ÛÙË ÛËÌÂÚÈÓ‹ Ô‰fi ™ÔÏˆ-

ÌÔ‡ Î·È ‹Ù·Ó Î¿ıÂÙÔ˜ ÚÔ˜ ÙË μÂÓÈ˙¤ÏÔ˘. ΔÔ Ù¤ÌÂÓÔ˜ ÌÔÚÔ‡ÛÂ Ó·

‹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 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· Î·ÙÔÈÎ›·- ‹Ù·Ó ‰È·‰ÔÌ¤ÓÔ˜

ÛÙË £ÂÛÛ·ÏÔÓ›ÎË ÙË˜ ÂÔ¯‹˜ Ô˘ Ï‹ÊıËÎÂ Ë ÊˆÙÔÁÚ·Ê›· (12% ÙˆÓ

ÎÙÈÛÌ¿ÙˆÓ ÛÙÔ Î¤ÓÙÚÔ ÙË˜ fiÏË˜, ÌÂÙ·Í‡ μÂÓÈ˙¤ÏÔ˘ Î·È ∂ÁÓ·Ù›·˜).

ΔÔ Î·Ù¿ÛÙËÌ· Î¿Ùˆ ·fi ÙÔ Û›ÙÈ Î·È ÂÎÂ›ÓÔ ·¤Ó·ÓÙÈ ·fi ÙÔ ÊˆÙÔ-

ÁÚ¿ÊÔ Ê·›ÓÔÓÙ·È Ó· Ô˘Ï¿ÓÂ Í‡Ï·. √ ÂÍˆÙÂÚÈÎfi˜ ¯ÒÚÔ˜ ‰ÂÓ Â›Ó·È

‰ÚfiÌÔ˜, ·ÏÏ¿ ·˘Ï‹. Δ· ÛÙÔÈ¯Â›· ·˘Ù¿, ÛÙÔ Û‡ÓÔÏfi ÙÔ˘˜, «ÂÓÔ¯ÔÔÈ-

Ô‡Ó» ‰‡Ô ÔÈÎÔ‰ÔÌÈÎ¿ ÙÂÙÚ¿ÁˆÓ· (˘’ ·ÚÈıÌ. 199 Î·È 203), Ô˘ ‰È¤-

ıÂÙ·Ó «Í˘ÏÔˆÏÂ›·», ÂÛˆÙÂÚÈÎ¤˜ ·˘Ï¤˜ Î·È ÙÔÓ ÔÈÎÔ‰ÔÌÈÎfi Ù‡Ô

ÈÛfiÁÂÈÔ Î·Ù¿ÛÙËÌ·-·ÓÒÁÂÈ· Î·ÙÔÈÎ›·. Δ· ÙÂÙÚ¿ÁˆÓ· ·˘Ù¿ ‹Ù·Ó ÁÂÈ-

ÙÔÓÈÎ¿ Î·È ‚Ú›ÛÎÔÓÙ·Ó Â› ÙË˜ ‚fiÚÂÈ·˜ ÏÂ˘Ú¿˜ ÙË˜ ∂ÁÓ·Ù›·˜, ·Ó¿-

ÌÂÛ· ÛÙÔ ª¤Ë Ã·Ì¿Ì Î·È ÛÙËÓ ¶·Ó·Á›· Ã·ÏÎ¤ˆÓ, ‰ËÏ·‰‹ ÛÂ ÌÈÎÚ‹

·fiÛÙ·ÛË ·fi ÙÔ ÛËÌÂ›Ô Ô˘ Ï‹ÊıËÎÂ Ë ÚÔËÁÔ‡ÌÂÓË ÊˆÙÔÁÚ·Ê›·.

§fiÁˆ Î·È ÙË˜ ÔÌÔÈfiÙËÙ·˜ ÙË˜ ÊˆÙÔÁÚ·ÊÈÎ‹˜ Ì·ÙÈ¿˜, Â‡ÏÔÁ· ÌÔ-

ÚÔ‡ÌÂ Ó· ˘Ôı¤ÛÔ˘ÌÂ fiÙÈ ÔÈ ‰‡Ô Ï‹„ÂÈ˜ ¤ÁÈÓ·Ó ·fi ÙÔ ›‰ÈÔ ÚfiÛˆ-

Ô, ÙËÓ ›‰È· Ì¤Ú·, ÛÙËÓ ›‰È· Û˘ÓÔÈÎ›· (∫·¿ÓÈ).

∫·¿ÓÈ, 1914

1915, ·ÏÈ·Ù˙›‰ÈÎ·

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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏214k

ΔÔ ÂÈÎÔÓÈ˙fiÌÂÓÔ ·ÚÈÛÙÂÚfi ÙÌ‹Ì· ÙË˜ Î·Ì¤ÓË˜ fiÏË˜ ‚Ú›ÛÎÂÙ·È ÛÂ

ÌÂÁ·Ï‡ÙÂÚÔ ˘„fiÌÂÙÚÔ ·fi ÙÔ ‰ÂÍÈfi. ™˘ÓÂÒ˜, Ô ÊˆÙÔÁÚ¿ÊÔ˜ Â›¯Â

ÙË ı¿Ï·ÛÛ· ÛÙ· ‰ÂÍÈ¿ ÙÔ˘, ÙËÓ ¿Óˆ fiÏË ÛÙ· ·ÚÈÛÙÂÚ¿ ÙÔ˘ Î·È ‚ÚÈ-

ÛÎfiÙ·Ó ÂÚ›Ô˘ ÛÙË Ì¤ÛË ÙË˜ fiÏË˜, ÛÙË ÁˆÓ›· ÌÂ ÙËÓ Ô‰fi Ô˘

·ÓËÊfiÚÈ˙Â ÚÔ˜ ÙÔ ˘„ËÏfiÙÂÚÔ ÙÌ‹Ì·. ™ÙÔ Î·Ì¤ÓÔ ÙÚÈÒÚÔÊÔ ÎÙ›ÚÈÔ

ÛÂ 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˜ ·ÌÂÚÈÎ·ÓÈÎÔ‡ ·ÓÂ-

ÈÛÙËÌ›Ô˘- Â›¯Â ÙÔ È·ÙÚÂ›Ô ÙÔ˘ ÛÙËÓ Ô‰fi ∂ÁÓ·Ù›· 165, ‰ËÏ·‰‹ ÎÔÓÙ¿

ÛÙË ‰È·ÛÙ·‡ÚˆÛË ÌÂ ÙËÓ Ô‰fi μÂÓÈ˙¤ÏÔ˘. ¢Â‰ÔÌ¤ÓÔ˘ fiÙÈ ‰ÂÓ ·Ó·Ê¤-

ÚÂÙ·È ¿ÏÏÔ˜ Ô‰ÔÓÙ›·ÙÚÔ˜ ÌÂ ÙÔ ›‰ÈÔ Â›ıÂÙÔ Î·È fiÙÈ Ë ı¤ÛË ÙÔ˘

È·ÙÚÂ›Ô˘ Ù·ÈÚÈ¿˙ÂÈ ÌÂ ÙËÓ ÂÈÎÔÓÈ˙fiÌÂÓË, ÌÔÚÔ‡ÌÂ Ó· Û˘ÌÂÚ¿ÓÔ˘ÌÂ

fiÙÈ Ô ÊˆÙÔÁÚ¿ÊÔ˜ ¤Ï·‚Â ı¤ÛË ÛÙË ‰È·ÛÙ·‡ÚˆÛË ∂ÁÓ·Ù›·˜ Î·È μÂÓÈ-

˙¤ÏÔ˘, Èı·ÓÒ˜ ¿Óˆ ÛÙË ÛÙ¤ÁË ÙÔ˘ ÙÂÌ¤ÓÔ˘˜ Ã¿Ì˙· ª¤Ë.

™˘Ì‚ÔÏ‹ ∂ÁÓ·Ù›·˜ Î·È μÂÓÈ˙¤ÏÔ˘, 1917

5.8.1917 ˘ÚÎ·ÁÈ¿

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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏216k

√ ‰ÚfiÌÔ˜ Â›Ó·È ÂÓÙÂÏÒ˜ Ó¤Ô˜. ¢ËÌÈÔ˘ÚÁ‹ıËÎÂ ÌÂ ÙÔ Ó¤Ô Û¯¤‰ÈÔ,

Ú·ÎÙÈÎ¿ 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¤¯ÓÂ˜ ÙË˜

£ÂÛÛ·ÏÔÓ›ÎË˜. ™ÙÔ ÛÎ¤·ÛÙÚÔ ÙÔ˘ Î·ÊÂÓÂ›Ô˘ ¤Ó· ·Ófi ·Ó·ÎÔÈÓÒ-

ÓÂÈ fiÙÈ «·fi ÙË˜ ÚÔÛÂ¯Ô‡˜ ∫˘ÚÈ·Î‹˜ Ù· ‘ª·ÎÂ‰ÔÓÈÎ¿ ¡¤·’ ı· Â›Ó·È

Ï‹Úˆ˜ ·Ó·ÓÂˆÌ¤Ó·». ∏ ÂÊËÌÂÚ›‰· «ª·ÎÂ‰ÔÓÈÎ¿ ¡¤·», ÌÂ ÂÎ‰fiÙË

ÙÔ ‰ËÌÔÛÈÔÁÚ¿ÊÔ ¶¤ÙÚÔ §Ô‡‚·ÚË, ÂÎ‰È‰fiÙ·Ó ·fi ÙÈ˜ ·Ú¯¤˜ ÙÔ˘

1924 Ì¤¯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¤ÏÂ˘ÛË ÙÔ˘

ÙÚ·Ì ¯ÚÔÓÔÏÔÁÂ› ÙË Ï‹„Ë ÌÂÙ¿ ÙÔ 1927. ŒÙÛÈ, Ë ÊˆÙÔÁÚ·Ê›· ÔÚÈÔ-

ıÂÙÂ›Ù·È ¯ÚÔÓÈÎ¿ ÌÂÙ·Í‡ ÙˆÓ ÂÙÒÓ 1927 Î·È 1934. ∏ Û¯ÂÙÈÎ‹ ÏËÚfi-

ÙËÙ· ÛÙËÓ ÔÈÎÔ‰fiÌËÛË ˘Ô‰ËÏÒÓÂÈ ¯ÚfiÓÔ ÌÂÙ¿ ÙÔ 1930.

√‰fi˜ ΔÛÈÌÈÛÎ‹, Á‡Úˆ ÛÙ· 1930

√‰fi˜ ΔÛÈÌÈÛÎ‹

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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏218k

∏ Ô‰fi˜ ∞Á›·˜ ™ÔÊ›·˜ ‹Ù·Ó ·Ï·Èfi˜ ‰ÚfiÌÔ˜, ·ÏÏ¿ ‰È·ÓÔ›¯ÙËÎÂ Î·È

Â˘ı˘ÁÚ·ÌÌ›ÛÙËÎÂ ÌÂ ÙËÓ ÂÊ·ÚÌÔÁ‹ ÙÔ˘ Ó¤Ô˘ ÔÏÂÔ‰ÔÌÈÎÔ‡ Û¯Â‰›Ô˘.

√ ÊˆÙÔÁÚ¿ÊÔ˜, ‰ËÏ·‰‹, ·ÂÈÎfiÓÈ˙Â ÌÈ· ·ÛÙÈÎ‹ Ú·ÁÌ·ÙÈÎfiÙËÙ·

Ï›ÁˆÓ ÂÙÒÓ. ∞ÂÈÎÔÓ›˙ÂÙ·È ÙÔ ÙÌ‹Ì· ÙÔ˘ ‰ÚfiÌÔ˘ ·fi ÙË ‰È·ÛÙ·‡Úˆ-

ÛË ÌÂ ÙËÓ Ô‰fi ΔÛÈÌÈÛÎ‹ ÚÔ˜ ÙËÓ Ï·ÙÂ›· ∞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·» ÂÁÎ·ÈÓÈ¿ÛÙËÎ·Ó ÙÔ ¡Ô¤Ì‚ÚÈÔ ÙÔ˘ 1926. ∏ Ï‹„Ë Ú¤ÂÈ

Ó· ¤ÁÈÓÂ 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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏220k

∏ Ï‹„Ë ¤ÁÈÓÂ ÌÂÙ¿ ÙËÓ ·ÂÏÂ˘ı¤ÚˆÛË, ·ÏÏ¿ ÚÈÓ ·fi ÙËÓ ˘ÚÎ·ÁÈ¿

ÙÔ˘ 1917, Ë ÔÔ›· ¤Î·„Â Ù· Á‡Úˆ ÎÙ›ÚÈ· Ô˘ ÂÈÎÔÓ›˙ÔÓÙ·È ÛÙË ÊˆÙÔ-

ÁÚ·Ê›· ·˘Ù‹. √ ÊˆÙÔÁÚ¿ÊÔ˜ Â›¯Â ÛÙ· ‰ÂÍÈ¿ ÙÔ˘ ÙÔ ÎÙ›ÚÈÔ ÛÙÔ ÔÔ›Ô

ÛÙÂÁ¿ÛÙËÎÂ ÙÔ ÂÏÏËÓÈÎfi ÚÔÍÂÓÂ›Ô ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜ (‰È·ÎÚ›ÓÂÙ·È

ÛÙ· ‰ÂÍÈ¿: ¡˘Ó ªÔ˘ÛÂ›Ô ª·ÎÂ‰ÔÓÈÎÔ‡ ∞ÁÒÓ·). ™ÙÔ ÎÙ›ÚÈÔ ·˘Ùfi ÛÙÂ-

Á¿ÛÙËÎÂ ÙÔ 1915 Ë °ÂˆÚÁÈÎ‹ ΔÚ¿Â˙· ª·ÎÂ‰ÔÓ›·˜ Î·È ÙÔ 1917

Û˘ÛÙÂÁ¿ÛÙËÎÂ ÁÈ· ÌÂÚÈÎÔ‡˜ Ì‹ÓÂ˜ Ë ∂ıÓÈÎ‹ ΔÚ¿Â˙· ÙË˜ ∂ÏÏ¿‰Ô˜,

fiÙ·Ó Î¿ËÎ·Ó ÔÈ ÂÁÎ·Ù·ÛÙ¿ÛÂÈ˜ ÙË˜ 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·ÁÌ¤ÓÔ ÔÈÎfiÂ‰Ô,

Ô˘ ÙËÓ ÂÔ¯‹ ÙË˜ Ï‹„Ë˜ ÏÂÈÙÔ˘ÚÁÔ‡ÛÂ ˆ˜ Ì·ÚÌ·ÚÔÁÏ˘ÊÂ›Ô. (ª¤¯ÚÈ

ÙÔ 1890 ÛÙÔÓ ÙfiÔ ÂÎÂ›ÓÔ ‚ÚÈÛÎfiÙ·Ó ÙÔ ÌËÙÚÔÔÏÈÙÈÎfi Ì¤Á·ÚÔ ÙË˜

£ÂÛÛ·ÏÔÓ›ÎË˜). ΔÔ ÔÈÎfiÂ‰Ô ¯Ù›ÛÙËÎÂ ÌfiÏÈ˜ ÙÔ 1938, fiÙ·Ó Î·Ù·-

ÛÎÂ˘¿ÛÙËÎÂ ÙÔ ÎÙ›ÚÈÔ ÙË˜ ÌËÙÚfiÔÏË˜, Ô˘ ÊÈÏÔÍ¤ÓËÛÂ Â› ¯ÚfiÓÈ· ÙË

™¯ÔÏ‹ μ·Ï·ÁÈ¿ÓÓË Î·È ÛÙË Û˘Ó¤¯ÂÈ· ÙËÓ ∞ÓÒÙ·ÙË μÈÔÌË¯·ÓÈÎ‹ ™¯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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏222k

∏ Ï·ÙÂ›· ∞Á›·˜ ™ÔÊ›·˜ ‹Ù·Ó ¤Ó· ·fi Ù· ÂÓ‰È·Ê¤ÚÔÓÙ· ÛËÌÂ›· ÙË˜

Ó¤·˜ ÔÏÂÔ‰ÔÌÈÎ‹˜ Ú·ÁÌ·ÙÈÎfiÙËÙ·˜ ÙË˜ ÌÂÛÔÔÏÂÌÈÎ‹˜ £ÂÛÛ·ÏÔ-

Ó›ÎË˜. ∏ ·Ó¿‰ÂÈÍË ÙË˜ ∞Á›·˜ ™ÔÊ›·˜ Î·È Ë ¿ÌÂÛË ÔÙÈÎ‹ Â·Ê‹ ÌÂ ÙËÓ

ÕÓˆ ¶fiÏË ÚÔÎ¿ÏÂÛ·Ó ÙÔ ÂÓ‰È·Ê¤ÚÔÓ ÙˆÓ ÊˆÙÔÁÚ¿ÊˆÓ ÙÔ˘ ÌÂÛÔ-

ÔÏ¤ÌÔ˘, Ô˘ ÂÓ¤Ù·Í·Ó ÙËÓ Ï·ÙÂ›· ÛÙË ıÂÌ·ÙÈÎ‹ ÙˆÓ Î·ÚÙÔÛÙ¿Ï

Ô˘ ÂÍ¤‰ˆÛ·Ó. ∏ Û˘ÁÎÂÎÚÈÌ¤ÓË ÊˆÙÔÁÚ·Ê›· ÂÎ‰fiıËÎÂ ˆ˜ Î·ÚÙÔ-

ÛÙ¿Ï ÙË˜ «¢¤ÏÙ·», ÛÙÈ˜ ·Ú¯¤˜ ÙË˜ ‰ÂÎ·ÂÙ›·˜ ÙÔ˘ 1930. ∏ Ï‹„Ë Ú¤-

ÂÈ Ó· ¤¯ÂÈ Á›ÓÂÈ ·fi fiÚÔÊÔ ÎÙÈÚ›Ô˘. ™ÎÔfi˜ ÙÔ˘ ÊˆÙÔÁÚ¿ÊÔ˘ ‰ÂÓ

‹Ù·Ó Ó· Û˘ÏÏ¿‚ÂÈ ÙËÓ Ï·ÙÂ›· (Û’ ·˘Ù‹Ó ÙËÓ ÂÚ›ÙˆÛË ı· ¤‰ÈÓÂ ÙËÓ

¤ÌÊ·ÛË ÛÙËÓ ·ÚÈÛÙÂÚ‹ ÏÂ˘Ú¿, ÚÔ˜ ÙËÓ Ô‰fi ∂ÚÌÔ‡), Ô‡ÙÂ ÙËÓ

ÂÎÎÏËÛ›· ÙË˜ ∞Á›·˜ ™ÔÊ›·˜ (Ô˘ ‚Ú›ÛÎÂÙ·È ÚÔ˜ Ù· ‰ÂÍÈ¿), ·ÏÏ¿ ÙÔ

¿Óˆ Ì¤ÚÔ˜ ÙË˜ Ô‰Ô‡ ∞Á›·˜ ™ÔÊ›·˜ Î·È ÙË ı¤· ÙË˜ ÕÓˆ ¶fiÏË˜. ¶¿Óˆ

·fi ÙËÓ ∂ÁÓ·Ù›· Ê·›ÓÂÙ·È Ë Ï·ÙÂ›· ª·ÎÂ‰ÔÓÔÌ¿¯ˆÓ. ΔÔ Ô›ÎËÌ·

Ô˘ ‰ÂÛfi˙ÂÈ ·ÌÊÈıÂ·ÙÚÈÎ¿ Û’ ·˘Ù‹Ó Ú¤ÂÈ Ó· ‹Ù·Ó Ë ÔÈÎ›· ª·Ï-

Ù·‰ÒÚÔ˘. ™Ù· ‰ÂÍÈ¿, ÙÔ ÏÂ˘Îfi Ô›ÎËÌ· ÛÙË ÁˆÓ›· ÌÂ ÙËÓ ∂ÁÓ·Ù›· ‹Ù·Ó

Ë ÎÏÈÓÈÎ‹ ªÈÛÈÚÏfiÁÏÔ˘.

¶Ï·ÙÂ›· ∞Á›·˜ ™ÔÊ›·˜, Á‡Úˆ ÛÙ· 1930

¶Ï·ÙÂ›· ∞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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏224k

∞ÂÈÎÔÓ›˙ÂÙ·È Ë ·Ó·ÙÔÏÈÎ‹ ÏÂ˘Ú¿ ÙË˜ Ô‰Ô‡ ∞Á›·˜ ™ÔÊ›·˜, ÙÔ ·Ó·-

ÙÔÏÈÎfi ÙÌ‹Ì· ÙË˜ Ï·ÙÂ›·˜ Î·È Ë Ô‰fi˜ ∫ÂÚ·ÌÔÔ‡ÏÔ˘ (‚ÔÚÂ›ˆ˜ ÙÔ˘

Ó·Ô‡ ÙË˜ ∞Á›·˜ ™ÔÊ›·˜). ∏ Ï‹„Ë ¤ÁÈÓÂ ÛÙË ‰ÂÎ·ÂÙ›· ÙÔ˘ 1950. ∏

Û‡ÁÎÚÈÛË ÌÂ ÙËÓ ÚÔËÁÔ‡ÌÂÓË ÊˆÙÔÁÚ·Ê›· ‰Â›¯ÓÂÈ fiÙÈ ¤¯Ô˘Ó ·ÓÂ-

ÁÂÚıÂ› Ó¤· ÎÙ›ÛÌ·Ù·, ¤Ó· (ÛÙË ÁˆÓ›·) ¤¯ÂÈ ÂÂÎÙ·ıÂ› Î·ı’ ‡„Ô˜ Î·È

¤Ó· ·ÎfiÌË ÙÂÏÂ› ˘fi Â¤ÎÙ·ÛË (Ë ÎÏÈÓÈÎ‹ ÛÙËÓ Ô‰fi ∫ÂÚ·ÌÔÔ‡ÏÔ˘).

√ ÊˆÙÔÁÚ¿ÊÔ˜ ·Ó·˙‹ÙËÛÂ ÙËÓ ·ÙÌfiÛÊ·ÈÚ· ÙË˜ Ï·ÙÂ›·˜ –ÚˆÈÓfi

ÌÈ·˜ ·ÚÁ›·˜, ÚÔÊ·ÓÒ˜ ÂıÓÈÎ‹˜ ÂÔÚÙ‹˜- Î·È fi¯È ÙËÓ Ú˘ÌÔÙÔÌÈÎ‹ È‰È-

·ÈÙÂÚfiÙËÙ¿ ÙË˜. ∏ Ï·ÙÂ›· ‰ÂÓ ‹Ù·Ó Ï¤ÔÓ Î·ÈÓÔ‡ÚÁÈ·.

¶Ï·ÙÂ›· ∞Á›·˜ ™ÔÊ›·˜, ‰ÂÎ·ÂÙ›· 1950

¶Ï·ÙÂ›· ∞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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏226k

∏ Ô‰fi˜ ∂ÚÌÔ‡ ˘‹ÚÍÂ Î·È ÂÎÂ›ÓË ÚÔ˚fiÓ ÙÔ˘ Ó¤Ô˘ ÔÏÂÔ‰ÔÌÈÎÔ‡

Û¯Â‰›Ô˘. ™˘Ó¤‰ÂÛÂ, ÛÂ Â˘ıÂ›· ÁÚ·ÌÌ‹, ÙËÓ ·ÁÔÚ¿ ÌÂ ÙÔÓ Ó·fi ÙË˜

∞Á›·˜ ™ÔÊ›·˜, ÙÔÓ ÔÔ›Ô ·Ó·‰Â›ÎÓ˘Â. ∏ ÚÔÔÙÈÎ‹ ÙË˜ ∞Á›·˜ ™ÔÊ›·˜

ÛÙÔ ‚¿ıÔ˜ ÙÔ˘ ‰ÚfiÌÔ˘ Î·È ÙÔ ÌÂÁ¿ÏÔ –ÌÂ Ù· ‰Â‰ÔÌ¤Ó· Î·È ÙÈ˜ ·Ó¿-

ÁÎÂ˜ ÙË˜ ÂÔ¯‹˜- Â‡ÚÔ˜ ÙÔ˘, Î·Ù¤ÛÙËÛ·Ó ÙËÓ Ô‰fi ∂ÚÌÔ‡ Â›˙ËÏÔ

·ÓÙÈÎÂ›ÌÂÓÔ ÊˆÙÔÁÚ¿ÊËÛË˜ ÛÙÔ ÌÂÛÔfiÏÂÌÔ. ∏ ÌÂÏ¤ÙË ÙˆÓ Ù·¯˘-

‰ÚÔÌËÌ¤ÓˆÓ (Î·È ¿Ú· ¯ÚÔÓÔÏÔÁËÌ¤ÓˆÓ) Î·ÚÙÔÛÙ¿Ï Ì·˜ ÂÈÙÚ¤ÂÈ

Ó· ÁÓˆÚ›˙Ô˘ÌÂ Ò˜ ÂÍÂÏ›¯ÙËÎÂ Ë ‰È·ÌfiÚÊˆÛË ÙÔ˘ ‰ÚfiÌÔ˘. ∏

Û˘ÁÎÂÎÚÈÌ¤ÓË Ï‹„Ë ·ÂÈÎÔÓ›˙ÂÈ ÙÔ ‰ÚfiÌÔ ·fi ÙÔ ‡„Ô˜ ÙË˜ Ô‰Ô‡

∫ÔÌÓËÓÒÓ Ì¤¯ÚÈ ÙËÓ ∞Á›· ™ÔÊ›· Î·È ÙËÓ Î·Ù¿ÛÙ·ÛË fiˆ˜ Â›¯Â ‹‰Ë

‰È·ÌÔÚÊˆıÂ› ÙÔ 1928. ™Ù· ‰ÂÍÈ¿ ‰È·ÎÚ›ÓÔÓÙ·È Ë ·ÁÔÚ¿ ªÔ‰È¿ÓÔ Î·È

Ë ¡¤· ∞ÁÔÚ¿. ∏ ·ÛÊ·ÏÙfiÛÙÚˆÛË ÙË˜ Ô‰Ô‡ ∂ÚÌÔ‡ ¤ÁÈÓÂ ÙÔ 1933.

™ÙË ÊˆÙÔÁÚ·Ê›· Ô ‰ÚfiÌÔ˜ ‰ÂÓ Ê·›ÓÂÙ·È ·ÛÊ·ÏÙÔÛÙÚˆÌ¤ÓÔ˜. ™˘ÓÂ-

Ò˜ Ë Ï‹„Ë ¤ÁÈÓÂ 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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏228k

∏ Ô‰fi˜ μÂÓÈ˙¤ÏÔ˘ ‹Ù·Ó ·Ï·Èfi˜ Î·È ÂÌÔÚÈÎfi˜ ‰ÚfiÌÔ˜ ÙË˜ £ÂÛÛ·-

ÏÔÓ›ÎË˜, ·ÏÏ¿ ÌÂ ÙÔ Ó¤Ô Û¯¤‰ÈÔ ‰È·Ï·Ù‡ÓıËÎÂ Î·È Â˘ı˘ÁÚ·ÌÌ›ÛÙË-

ÎÂ. ¢ÂÓ ‰È·ÛÙ·˘ÚˆÓfiÙ·Ó Ï¤ÔÓ ÌÂ ÛÙÂÓÔ‡˜ ‰ÚÔÌ›ÛÎÔ˘˜, ·ÏÏ¿ ÌÂ

Ó¤Â˜ Â˘ÚÂ›˜ Ô‰Ô‡˜, ÁÂÁÔÓfi˜ Ô˘ ¤‰ˆÛÂ ÛÙÔ ‰ÚfiÌÔ ÂÓÙÂÏÒ˜ Ó¤· fi„Ë.

∫·Ù¿ ÙËÓ ÂÎÔ›ËÛË ÙˆÓ ÔÈÎÔ¤‰ˆÓ ÙÔ˘ Ó¤Ô˘ Û¯Â‰›Ô˘ ·Ô‰Â›¯ÙËÎÂ

Ô ·ÎÚÈ‚fiÙÂÚÔ˜, ÌÂ ÌÂÁ¿ÏË ‰È·ÊÔÚ¿ ·fi ÙÔ˘˜ ÁÂÈÙÔÓÈÎÔ‡˜. Δ· ÎÙ›ÚÈ·

Ô˘ ÂÈÎÔÓ›˙ÔÓÙ·È ‹Ù·Ó fiÏ· ÂÌÔÚÈÎ¿ Î·È ‰ËÌÈÔ˘ÚÁ‹ıËÎ·Ó ÂÍ ·Ú¯‹˜

ÁÈ· ÂÌÔÚÈÎ‹ ¯Ú‹ÛË Î·È ÂÎÌÂÙ¿ÏÏÂ˘ÛË. ΔÔ ÎÙ›ÚÈÔ Ô˘ ‰ÂÛfi˙ÂÈ ÛÙË

ÊˆÙÔÁÚ·Ê›· ÔÓÔÌ·˙fiÙ·Ó «Ì¤Á·ÚÔ ™›ÁÁÂÚ», ‰ÈfiÙÈ ÛÂ ·˘Ùfi ‹Ù·Ó

ÂÁÎ·ÙÂÛÙËÌ¤ÓË (Ì¤¯ÚÈ Ù· 1930 ÂÚ›Ô˘) Ë ÂÙ·ÈÚÂ›· Burne Company,

Ë ÔÔ›· ÂÌÔÚÂ˘fiÙ·Ó ÙÈ˜ Ú·ÙÔÌË¯·Ó¤˜ ™›ÁÁÂÚ. ™ÙËÓ ·ÔÁÚ·Ê‹ Ô˘

Ú·ÁÌ·ÙÔÔ›ËÛÂ ÙÔ ∂ÌÔÚÈÎfi Î·È μÈÔÌË¯·ÓÈÎfi ∂ÈÌÂÏËÙ‹ÚÈÔ £ÂÛÛ·-

ÏÔÓ›ÎË˜ ÙÔ 1924 Û˘Ó·ÓÙÔ‡ÌÂ ‰¤Î· ÂÚ›Ô˘ ÂÌÔÚÈÎ¤˜ ÂÈ¯ÂÈÚ‹ÛÂÈ˜

Ô˘ ÛÙÂÁ¿˙ÔÓÙ·Ó ÛÙÔ ›‰ÈÔ ÎÙ›ÚÈÔ (‰ÈÂ‡ı˘ÓÛË: μÂÓÈ˙¤ÏÔ˘ 44 Â›ÙÂ

Ì¤Á·ÚÔ ™›ÁÁÂÚ), ÔÈ ÂÚÈÛÛfiÙÂÚÂ˜ ÙˆÓ ÔÔ›ˆÓ ÂÌÔÚÂ‡ÔÓÙ·Ó ˘Ê¿-

ÛÌ·Ù·. ∞Ó¿ÏÔÁÂ˜ ‹Ù·Ó Î·È ÔÈ ¯Ú‹ÛÂÈ˜ 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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏230k

∫·Ù¿ ÙÔ ÔÏÂÔ‰ÔÌÈÎfi Û¯¤‰ÈÔ Ë Ó¤· Ô‰fi˜ ∞ÚÈÛÙÔÙ¤ÏÔ˘˜ ‹Ù·Ó Ë ÛËÌ·-

ÓÙÈÎfiÙÂÚË ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜. ™˘Ó¤‰ÂÂ ‰‡Ô ÌÂÁ¿ÏÂ˜ Ï·ÙÂ›Â˜: ΔËÓ

¶Ï·ÙÂ›· ¢ÈÎ·ÛÙËÚ›ˆÓ (fiÔ˘ Ë Úfi‚ÏÂ„Ë Ó· ·Ó·ÁÂÚıÔ‡Ó Ù· ‰ÈÎ·-

ÛÙ‹ÚÈ· Î·È ÙÔ ‰ËÌ·Ú¯È·Îfi Ì¤Á·ÚÔ ‰ÂÓ ÙÂÏÂÛÊfiÚËÛÂ ‰ÈfiÙÈ ·Ó·Î·Ï‡-

ÊıËÎÂ Ë ·Ú¯·›· ·ÁÔÚ¿) Î·È ÙËÓ ·Ú·ı·Ï¿ÛÛÈ· ¶Ï·ÙÂ›· ∞ÚÈÛÙÔÙ¤-

ÏÔ˘˜, Ô˘ Û¯Â‰È¿ÛÙËÎÂ ÁÈ· Ó· Á›ÓÂÈ (Î·È ¤ÁÈÓÂ) Î¤ÓÙÚÔ ·Ó·„˘¯‹˜. ∂›

Ï¤ÔÓ, ÌÂ ÙÔÓ ¿ÍÔÓ· ÙË˜ Ô‰Ô‡ ∞ÚÈÛÙÔÙ¤ÏÔ˘˜ ı· ·Ó·‰ÂÈÎÓ˘fiÙ·Ó ·fi

ÙË ı¿Ï·ÛÛ· Î·È Ô ÕÁÈÔ˜ ¢ËÌ‹ÙÚÈÔ˜. °È· Ù· ÎÙ›ÚÈ· ÙË˜ Ô‰Ô‡ Î·ıÔÚ›-

ÛÙËÎ·Ó ÂÈ‚Â‚ÏËÌ¤ÓÂ˜ fi„ÂÈ˜ (ÔÈ ÔÔ›Â˜ ÙËÚ‹ıËÎ·Ó). ΔÔ 1962, Ô˘

¤ÁÈÓÂ Ë Ï‹„Ë, Â›¯·Ó ·Ú¯›ÛÂÈ ÔÈ ·Ó·ÛÎ·Ê¤˜ ÛÙËÓ Ï·ÙÂ›· ÙË˜ ·Ú¯·›-

·˜ ·ÁÔÚ¿˜, ·ÏÏ¿ ‰ÂÓ Â›¯·Ó ÚÔ¯ˆÚ‹ÛÂÈ. √ ¯ÒÚÔ˜ ‹Ù·Ó ·ÎfiÌË ÎÂÓfi˜

(ÌÈ· ¯ˆÌ¿ÙÈÓË Î·ÙËÊÔÚÈÎ‹ ÂÈÊ¿ÓÂÈ·). ∏ ·Ó·ÊÂÚfiÌÂÓË ËÌÂÚÔÌËÓ›·

([™¿‚‚·ÙÔ] 24 ¡ÔÂÌ‚Ú›Ô˘) ‰ÂÓ Â›Ó·È Èı·Ó‹, ·Ó ÎÚ›ÓÔ˘ÌÂ ·fi Ù·

ÎÔÓÙÔÌ¿ÓÈÎ· Ô˘Î¿ÌÈÛ· Ô˘ ÊÔÚÔ‡Ó fiÏÔÈ ÔÈ ÂÈÎÔÓÈ˙fiÌÂÓÔÈ. ∂›ÙÂ Ë

Ï‹„Ë ¤ÁÈÓÂ ÌÂ ÂÏÈÎfiÙÂÚÔ Â›ÙÂ ·fi ÛÎ·ÏˆÛÈ¿, ¤¯ÂÈ ÚÔÎ·Ï¤ÛÂÈ ÙÔ

ÂÓ‰È·Ê¤ÚÔÓ ÙˆÓ ‰ÈÂÚ¯ÔÌ¤ÓˆÓ. À¿Ú¯ÂÈ, Ì¿ÏÈÛÙ·, Î·È ÙÔ Ì˘ÛÙ‹ÚÈÔ

ÙË˜ ·ÓÔÈ¯Ù‹˜ fiÚÙ·˜ ÙÔ˘ ÚÒÙÔ˘ ·˘ÙÔÎÈÓ‹ÙÔ˘ ‰ÂÍÈ¿, ·fi ÙÔ ÔÔ›Ô

ÏÂ›Ô˘Ó ÔÈ ÂÈ‚¿ÙÂ˜.

√‰fi˜ ∞ÚÈÛÙÔÙ¤ÏÔ˘˜, ‰È·ÛÙ·‡ÚˆÛË ÌÂ ÙËÓ Ô‰fi ΔÛÈÌÈÛÎ‹ 1962

∫ÂÓÙÚÈÎ‹ ÏÂˆÊfiÚÔ˜ ÙË˜ Ì·ÎÂ‰ÔÓÈÎ‹˜ ÚˆÙÂ˘Ô‡ÛË˜ ¿ÁÔ˘Û· ÚÔ˜ ÙËÓ Ï·ÙÂ›· ∞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

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏232k

™Â ÚÒÙÔ Ï¿ÓÔ ÙÔ Ì¤Á·ÚÔ μ·Ï·Ô‡ÚË, ·ÎÚÈ‚Ò˜ ÛÙË ‰È·ÛÙ·‡ÚˆÛË

ÙˆÓ Ô‰ÒÓ ΔÛÈÌÈÛÎ‹ 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‡ Û¯Â‰›Ô˘), ¤¯ÂÈ ÂÈÎÚ·Ù‹ÛÂÈ Ó·

Ï¤ÁÂÙ·È ÁÈ· ÙË Û˘ÁÎÂÎÚÈÌ¤ÓË ‰È·ÛÙ·‡ÚˆÛË. ™ÙÔ ¿ÎÚÔ ‰ÂÍÈ¿ ÙÔ Ì¤Á·-

ÚÔ ªÔÛÎÒÊ. ∏ Ï‹„Ë ¤ÁÈÓÂ ÌÂÙ¿ ÙËÓ Î·Ù¿ÚÁËÛË ÙˆÓ ÙÚ·Ì Ô˘ ÂÊ·Ú-

ÌfiÛÙËÎÂ ·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·ıÈ¤ÚˆÛË ÙˆÓ ÏÂˆÊÔ-

ÚÂÈ·ÎÒÓ Û˘ÁÎÔÈÓˆÓÈÒÓ. ∞fi ÙÔ 1963 ÛÙÔ Ì¤Á·ÚÔ μ·Ï·Ô‡ÚË ‹Ù·Ó

ÂÁÎ·ÙÂÛÙËÌ¤ÓË Ë ÓÂÔÏ·›· ÙÔ˘ ÎfiÌÌ·ÙÔ˜ ÙË˜ ∂ƒ∂. ∞ÏÏ¿ ÛÙË ÊˆÙÔ-

ÁÚ·Ê›· ‰ÂÓ Ê·›ÓÂÙ·È Î·Ó¤Ó· ›¯ÓÔ˜ ÙË˜. ŒÙÛÈ, Ë Ï‹„Ë ÚÔÛ‰ÈÔÚ›˙ÂÙ·È

¯ÚÔÓÈÎ¿ ÛÙËÓ ÂÚ›Ô‰Ô 1956-1962. ΔfiÙÂ 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¿ ·ÓÙÔˆÏÂ›· Ô˘ Â›¯Â

ÙfiÙÂ Ë Ô‰fi˜ ΔÛÈÌÈÛÎ‹.

™˘Ì‚ÔÏ‹ ÙˆÓ Ô‰ÒÓ ΔÛÈÌÈÛÎ‹ Î·È¶·‡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

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£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏234k

∏ Ï‹„Ë ¤ÁÈÓÂ ·fi ÙÔ §Â˘Îfi ¶‡ÚÁÔ, fi¯È fiÌˆ˜ ÁÈ· Ó· ··ı·Ó·Ù›ÛÂÈ

ÙËÓ ·Ú·Ï›· ‹ Ù· ¤ÚÈÍ ÙÔ˘ ÌÓËÌÂ›Ô˘, ·ÏÏ¿ ÁÈ· Ó· ‰Â›ÍÂÈ ÙÔ ÂÛˆÙÂ-

ÚÈÎfi ÙË˜ fiÏË˜. √ ÊˆÙÔÁÚ¿ÊÔ˜ Â¤ÏÂÍÂ ˆ˜ ÔÙÈÎfi ¿ÍÔÓ· ÙËÓ Ô‰fi

ºÈÏÈÎ‹˜ ∂Ù·ÈÚÂ›·˜, ¯ˆÚ›˜ ›Ûˆ˜ Ó· ÁÓˆÚ›˙ÂÈ fiÙÈ Î·Ù¿ Ì‹ÎÔ˜ ÙË˜ ÂÚ-

ÓÔ‡ÛÂ ÙÔ ·Ó·ÙÔÏÈÎfi ÙÂ›¯Ô˜ ÙË˜ fiÏË˜. ΔÔ ÎÙ›ÚÈÔ Ô˘ ÊÈÏÔÍ¤ÓËÛÂ ÙÔ

Î·ÊÂÓÂ›Ô «¡ÙÔÚ¤» (fiÔ˘ Û‡¯Ó·˙·Ó ÔÏÈÙÈÎÔ› Î·È ‰ËÌÔÛÈÔÁÚ¿ÊÔÈ)

‰ÂÓ ¤¯ÂÈ ·ÎfiÌË ÎÙÈÛÙÂ›. ΔÔ ÔÈÎfiÂ‰fi ÙÔ˘ ·Ó·ÛÎ¿ÙÂÙ·È. √È ÔÈÎÔÁ¤-

ÓÂÈÂ˜ ÙË˜ ÁˆÓÈ·Î‹˜ ÔÏ˘Î·ÙÔÈÎ›·˜ (ÌÂ ÙÔ ¯·Ú·ÎÙËÚÈÛÙÈÎfi Î˘ÎÏÈÎfi

Û¯‹Ì·) ÎÚÂÌÔ‡Ó ÙÈ˜ ÌÔ˘Á¿‰Â˜ ÙÔ˘˜ Î·Ù¿ Ï¿ÙÔ˜ ÙË˜ ºÈÏÈÎ‹˜ ∂Ù·È-

ÚÂ›·˜. Àfi ·Ó¤ÁÂÚÛË ‚Ú›ÛÎÂÙ·È Î·È ÙÔ ÎÙ›ÚÈÔ ÙË˜ §¤Û¯Ë˜ ºÚÔ˘Ú¿˜

£ÂÛÛ·ÏÔÓ›ÎË˜, Ô˘ ÔÏÔÎÏËÚÒıËÎÂ ÙÔ 1959. ¶›Ûˆ ÙÔ˘ ‰È·ÎÚ›ÓÔÓÙ·È

Ù· ·Ï·È¿ «ÛÔ˘ÏÙ·ÓÈÎ¿» ÎÙ›ÚÈ· ÙË˜ Ô‰Ô‡ ∂ıÓÈÎ‹˜ ∞Ì‡ÓË˜. ∏ ÏÂ˘Î‹

ÔÈÎÔ‰ÔÌ‹, ÛÙÔ ¿ÎÚÔ ‰ÂÍÈ¿ ÙË˜ ÂÈÎfiÓ·˜, ‚Ú›ÛÎÂÙ·È ÛÙË Û˘Ì‚ÔÏ‹ ÙˆÓ

Ô‰ÒÓ ∂ıÓÈÎ‹˜ ∞Ì‡ÓË˜ Î·È ΔÛÈÌÈÛÎ‹. ∞ÚÎÂÙ¤˜ ÔÈÎÔ‰ÔÌ¤˜ ·ÓÂÁÂ›ÚÔ-

ÓÙ·È ÛÙÔ ÂÛˆÙÂÚÈÎfi ÙË˜ fiÏË˜. ™ÙÔ ‚¿ıÔ˜, ÔÈ Û˘ÓÔÈÎ›Â˜ ÙË˜ ÕÓˆ

¶fiÏË˜, Ë ·ÎÚfiÔÏË Î·È ÔÈ ÂÎÙfi˜ ÙˆÓ ÙÂÈ¯ÒÓ Û˘ÓÔÈÎÈÛÌÔ› ÙÔ˘ ∞Á›Ô˘

¶·‡ÏÔ˘ Î·È ÙˆÓ ™·Ú¿ÓÙ· ∂ÎÎÏËÛÈÒÓ.

√‰fi˜ ºÈÏÈÎ‹˜ ∂Ù·ÈÚÂ›·˜, 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

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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·ÓÙÈÎ¿ ‰ËÌfiÛÈ· ¤ÚÁ· ·ÏÏ¿ Î·È È‰ÈˆÙÈÎ¤˜ ÂÂÓ‰‡ÛÂÈ˜, ÛÂ ‚·ıÌfi Ô˘,

ÁÈ· ÚÒÙË ÊÔÚ¿ ·fi ÙÔ 1912, Ô Ú˘ıÌfi˜ ·‡ÍËÛË˜ ÙÔ˘ ÚÔ˚fiÓÙÔ˜ ÛÙË

Û˘ÁÎÂÎÚÈÌ¤ÓË ÂÚÈÔ¯‹ ÍÂ¤Ú·ÛÂ ÔÔÈ·‰‹ÔÙÂ ¿ÏÏË. Δ· ÛËÌ·ÓÙÈÎfiÙÂ-

Ú· ·fi Ù· ¤ÚÁ· ·˘Ù¿ Ú·ÁÌ·ÙÔÔÈ‹ıËÎ·Ó ÛÙË £ÂÛÛ·ÏÔÓ›ÎË. ∂ÎÙfi˜

·fi ÙËÓ ·Ó¿Ù˘ÍË ÙË˜ ·ÓÂÈÛÙËÌÈÔ‡ÔÏË˜ Î·È ÙË˜ ¢ÈÂıÓÔ‡˜ ŒÎıÂ-

ÛË˜, ÛÙËÓ ÔÔ›· ¤¯Ô˘ÌÂ ·Ó·ÊÂÚıÂ›, ÛËÌ·ÓÙÈÎfi ¤ÚÁÔ ÁÈ· ÙËÓ fiÏË ‹Ù·Ó

Ë Â¤ÎÙ·ÛË ÙË˜ ·Ú·Ï›·˜ ÚÔ˜ Ù· ·Ó·ÙÔÏÈÎ¿ Î·È Ë ‰ËÌÈÔ˘ÚÁ›· ÙË˜

ÏÂˆÊfiÚÔ˘ ªÂÁ¿ÏÔ˘ ∞ÏÂÍ¿Ó‰ÚÔ˘ (ÚÒËÓ ∫¤ÓÂÓÙÈ). ™ÙÔÓ È‰ÈˆÙÈÎfi

ÙÔÌ¤· ÍÂ¯ˆÚ›˙ÂÈ Ë ‰ËÌÈÔ˘ÚÁ›· ÙÔ˘ ‰È˘ÏÈÛÙËÚ›Ô˘ ÙË˜ 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

∏ Â¤ÎÙ·ÛË ÙË˜ ·Ú·Ï›·˜ ÚÔ˜ Ù· ·Ó·ÙÔÏÈÎ¿ ‹Ù·Ó ·Ï·È¿ ·fiÊ·ÛË

Ô˘ ¿Ú¯ÈÛÂ Ó· ÂÎÙÂÏÂ›Ù·È Î·Ù¿ Ù· ÙÂÏÂ˘Ù·›· ÚÔÔÏÂÌÈÎ¿ ¯ÚfiÓÈ·.

ªfiÓÔÓ fiÌˆ˜ ÛÙ· Ù¤ÏË ÙË˜ ‰ÂÎ·ÂÙ›·˜ ÙÔ˘ 1950 ¿Ú¯ÈÛÂ Ë ÂÊ·ÚÌÔÁ‹

ÙË˜. ∞fi ¿ÏÏÂ˜ Û˘Ó·ÊÂ›˜ Ï‹„ÂÈ˜ ÚÔÎ‡ÙÂÈ fiÙÈ Ë Û˘ÁÎÂÎÚÈÌ¤ÓË ·fi

·¤ÚÔ˜ ÊˆÙÔÁÚ·Ê›· ¯ÚÔÓÔÏÔÁÂ›Ù·È ÙÔ 1962, ¯ÚÔÓÔÏÔÁ›· Ô˘ Û˘Ì-

ÊˆÓÂ› Î·È ÌÂ ¿ÏÏÂ˜ Ï‹„ÂÈ˜ ¿Óˆ ·fi ÙË £ÂÛÛ·ÏÔÓ›ÎË. ∏ Â¤ÎÙ·ÛË

ÙË˜ ·Ú·Ï›·˜ Û˘ÓÔ‰Â‡ÙËÎÂ Î·È ÌÂ ¤ÌÏËÛË ÙË˜ ı¿Ï·ÛÛ·˜, ÌÂ ·Ô-

Ù¤ÏÂÛÌ· Ó· ‰ËÌÈÔ˘ÚÁËıÔ‡Ó Ó¤· ÔÈÎfiÂ‰·. Δ· ÔÈÎfiÂ‰· ·˘Ù¿ Â›Ó·È

ÎÂÓ¿ ÛÙË ÊˆÙÔÁÚ·Ê›·, ‰Â›¯ÓÔÓÙ·˜ ¤ÙÛÈ ¤ÌÌÂÛ· ÙË Ê˘ÛÈÎ‹ ÎfiÏˆÛË.

ΔÔ ÚÒÙÔ ÎÙ›ÚÈÔ Ô˘ ÍÂ¯ˆÚ›˙ÂÈ Î·È ÂÊ¿ÙÂÙ·È ÛÙË ÏÂˆÊfiÚÔ, ·Ó‹ÎÂ

ÛÙÔ Û˘ÁÎÚfiÙËÌ· ÙË˜ 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˘ÛÂ›Ô. ™Â ÂÎÂ›ÓÔ ÙÔ ‡„Ô˜ Â›¯·Ó ÊÙ¿ÛÂÈ ÔÈ ÂÚÁ·Û›Â˜ ÙÔ

1962. √È ˘fiÏÔÈÂ˜ ·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

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T H E W O R K S 105

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏240k

∏ ÔÈÎÔÁ¤ÓÂÈ· ∫·ÊÙ·ÓÙ˙fiÁÏÔ˘ ‰È·‰Ú·Ì¿ÙÈÛÂ ÚˆÙÂ‡ÔÓÙ· ÚfiÏÔ ÛÙÔ

¯ÚÈÛÙÈ·ÓÈÎfi ÎfiÛÌÔ ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜ Î·Ù¿ ÙÔÓ 18Ô Î·È ÙÈ˜ ·Ú¯¤˜

ÙÔ˘ 19Ô˘ ·ÈÒÓ·. ∂Î·ÙÚ›ÛÙËÎÂ ÛÙË ª·ÛÛ·Ï›· ÙÔ 1822, ÚÔÎÂÈÌ¤ÓÔ˘

Ó· ÁÏÈÙÒÛÂÈ ÙÈ˜ ÛÊ·Á¤˜ Ô˘ ÂÍ·ÔÏ‡ıËÎ·Ó Î·Ù¿ ÙˆÓ Â˘fiÚˆÓ £ÂÛ-

Û·ÏÔÓÈÎ¤ˆÓ ·fi ÙÈ˜ ÔıˆÌ·ÓÈÎ¤˜ ·Ú¯¤˜. √È ·fiÁÔÓÔ› ÙË˜ ·Ó·‰Â›¯ıË-

Î·Ó ÔÈÎÈÏÔÙÚfiˆ˜ ÛÙÔ ‰ËÌfiÛÈÔ ‚›Ô Î·È –ÙÈÌÒÓÙ·˜ ÙËÓ ·ÒÙÂÚË

Î·Ù·ÁˆÁ‹ ÙÔ˘˜- ÎÏËÚÔ‰fiÙËÛ·Ó ÛËÌ·ÓÙÈÎfi ÔÛfi ÁÈ· ÙËÓ Î·Ù·ÛÎÂ˘‹

ËÚÒÔ˘ ÛÙË £ÂÛÛ·ÏÔÓ›ÎË. ΔÔ ÔÛfi ·˘Ùfi ¯ÚËÛÈÌÔÔÈ‹ıËÎÂ ˆ˜ ‚¿ÛË

ÁÈ· ÙËÓ Î·Ù·ÛÎÂ˘‹ ÂıÓÈÎÔ‡ ÛÙ·‰›Ô˘ ÛÙËÓ fiÏË. ∏ ·fi ·¤ÚÔ˜ ÊˆÙÔ-

ÁÚ¿ÊËÛ‹ ÙÔ˘, ÙÔ 1962, ·Ú¤¯ÂÈ ÌÔÓ·‰ÈÎ‹ ÂÈÎfiÓ· ÙË˜ Á‡Úˆ ÂÚÈÔ-

¯‹˜: ™ÙÔ ¿Óˆ ·ÚÈÛÙÂÚfi Ì¤ÚÔ˜, ¿Óˆ ·fi ÙÔ Á‹Â‰Ô, ·ÏÒÓÔÓÙ·È ÔÈ

ÛÙÚ·ÙÈˆÙÈÎ¤˜ ÂÁÎ·Ù·ÛÙ¿ÛÂÈ˜, Á‡Úˆ ·fi ÙÔ °™¡ 424. ™ÙÔ ¿Óˆ ‰ÂÍÈfi

Ì¤ÚÔ˜, Ë Û˘ÓÔÈÎ›· ÙË˜ ∞Á›·˜ ºˆÙÂÈÓ‹˜ Î·È ›Ûˆ ÙË˜ 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

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T H E W O R K S 106

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏242k

ΔÔ 1960 ‰ËÌÈÔ˘ÚÁ‹ıËÎÂ Ë ÔÚÁ·ÓˆÌ¤ÓË Ï·˙ ÙË˜ ·ÎÙ‹˜ £ÂÚÌ·˚ÎÔ‡,

ÌÂ ÙËÓ ÂÏ›‰· fiÙÈ ı· ÚÔÛ‹ÏÎ˘Â ÙÔ˘Ú›ÛÙÂ˜ Ô˘ ‰ÂÓ ¤‚ÚÈÛÎ·Ó ÔÚÁ·-

ÓˆÌ¤ÓÔ ÙfiÔ ÁÈ· ı·Ï¿ÛÛÈ· ÏÔ˘ÙÚ¿ ÎÔÓÙ¿ ÛÙË £ÂÛÛ·ÏÔÓ›ÎË. ø˜ È‰·-

ÓÈÎfi˜ ÙfiÔ˜ ÁÈ· ÙËÓ ÂÁÎ·Ù¿ÛÙ·Û‹ ÙË˜ ÂÈÏ¤¯ıËÎÂ ¤ÎÙ·ÛË Ô˘ ·Ó‹-

ÎÂ ÛÙÔ ‰ËÌfiÛÈÔ, ÎÔÓÙ¿ ÛÙÔ ÚÔÛÊ˘ÁÈÎfi ¯ˆÚÈfi ·ÏÈ¤ˆÓ ∞Á›· ΔÚÈ¿‰·,

ÙÔ ÔÔ›Ô ‹‰Ë ·ÔÙÂÏÔ‡ÛÂ ı¤ÚÂÙÚÔ ÁÈ· ÙÔ˘˜ £ÂÛÛ·ÏÔÓÈÎÂ›˜.

ΔÔ˘ÚÈÛÙÈÎ‹ Ï·˙ ∞Á›·˜ ΔÚÈ¿‰Ô˜

ΔÔ˘ÚÈÛÙÈÎ‹ 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 W O R K S 107

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏244k

∏ ∂ÏÏËÓÈÎ‹ μÈÔÌË¯·Ó›· ∑¿¯·ÚË˜ ∞.∂. È‰Ú‡ıËÎÂ ÙÔ 1960, ÌÂ ÛÙfi¯Ô

ÙËÓ ·Ú·ÁˆÁ‹ ˙¿¯·ÚË˜ ÛÙËÓ ∂ÏÏ¿‰· Î·È ÙËÓ ˘ÔÎ·Ù¿ÛÙ·ÛË ÙˆÓ

ÂÈÛ·ÁˆÁÒÓ. ΔÔ 1961 ÏÂÈÙÔ‡ÚÁËÛÂ 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· Î·Ù·ÛÎÂ˘¿ÛÙËÎÂ ÂÈ‰ÈÎfi ·Ú‰Â˘ÙÈÎfi

‰›ÎÙ˘Ô.

∞Ú‰Â˘ÙÈÎ‹ ‰ÈÒÚ˘Á· ÁÈ· ÙËÓ ˘‰ÚÔ‰fiÙËÛË ÙÔ˘ ÂÚÁÔÛÙ·Û›Ô˘ ÙË˜ ˙¿¯·ÚË˜ 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 W O R K S 108

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏246k

ΔÔ ÎÙ›ÚÈÔ ÙÔ˘ ·ÂÚÔ‰ÚÔÌ›Ô˘ £ÂÛÛ·ÏÔÓ›ÎË˜ Î·Ù·ÛÎÂ˘¿ÛÙËÎÂ ÙÔ 1965,

¤ÙÔ˜ ÛÙÔ ÔÔ›Ô ı· Ú¤ÂÈ Ó· ¯ÚÔÓÔÏÔÁËıÔ‡Ó ÔÈ ‰‡Ô ·˘Ù¤˜ Ï‹„ÂÈ˜.

∞Ó Î·È Î·Ù¿ ÙÔ Û¯Â‰È·ÛÌfi ÙÔ˘ ¤ÚÁÔ˘ Ë ·ÂÚÔÔÚÈÎ‹ Î›ÓËÛË ÙË˜ £ÂÛ-

Û·ÏÔÓ›ÎË˜ ‹Ù·Ó ÂÚÈÔÚÈÛÌ¤ÓË, ÔÈ ‰È·ÛÙ¿ÛÂÈ˜ ÙÔ˘ ·Ô‰Â›¯ıËÎ·Ó

Û‡ÓÙÔÌ· ÌÈÎÚfiÙÂÚÂ˜ ·fi ÙÈ˜ ·Ó·Ù˘ÛÛfiÌÂÓÂ˜ ·Ó¿ÁÎÂ˜. ΔÔ 1970

·ÔÊ·Û›ÛÙËÎÂ Ë Â¤ÎÙ·Û‹ ÙÔ˘.

∞ÂÚÔ‰ÚfiÌÈÔ £ÂÛÛ·ÏÔÓ›ÎË˜, 1965

∞ÂÚÔÏÈÌ‹Ó £ÂÛÛ·ÏÔÓ›ÎË˜

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 W O R K S 109 & 110

110

109

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏248k

Ÿˆ˜ ÚÔ·Ó·Ê¤ÚıËÎÂ, Ô ÛÙ·ıÌfi˜ ÂÁÎ·ÈÓÈ¿ÛÙËÎÂ ÙÔ 1962. √ Ù‡Ô˜

ÙˆÓ ·˘ÙÔÎÈÓ‹ÙˆÓ, Ù· ‰È·ÊËÌÈ˙fiÌÂÓ· ÚÔ˚fiÓÙ· Î·È ÔÈ ·ÌÊÈ¤ÛÂÈ˜

‰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·ÏÔÓ›ÎË˜, 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 W O R K S 111

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏250k

ΔÔ ·Ó¿ÎÙÔÚÔ ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜ ¿Ú¯ÈÛÂ Ó· Î·Ù·ÛÎÂ˘¿˙ÂÙ·È ÙÔ 1955

ÛÂ ÙÔÔıÂÛ›· ÌÂÁ¿ÏË˜ Ê˘ÛÈÎ‹˜ ˆÚ·ÈfiÙËÙ·˜, ÛÙÔ ∫·Ú·ÌÔ˘ÚÓ¿ÎÈ

(ªÈÎÚfi ŒÌ‚ÔÏÔ), Î·È ÔÏÔÎÏËÚÒıËÎÂ ÙÔ 1960.

ΔÔ ·Ó¿ÎÙÔÚÔ ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜

∫˘‚ÂÚÓÂ›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 W O R K S 112

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏252k

∏ Û‡Ì‚·ÛË ÙË˜ ÂÏÏËÓÈÎ‹˜ Î˘‚¤ÚÓËÛË˜ ÌÂ ÙËÓ ÂÙ·ÈÚÂ›· Esso (ı˘Á·-

ÙÚÈÎ‹ ÙË˜ Exon) Î·È ÙÔÓ ÂÈ¯ÂÈÚËÌ·Ù›· ΔÔÌ ¶¿·˜ ÁÈ· ÙË ‰ËÌÈÔ˘Ú-

Á›· ‰È˘ÏÈÛÙËÚ›Ô˘ ÛÙË £ÂÛÛ·ÏÔÓ›ÎË Î·Ù·ÚÙ›ÛÙËÎÂ ÙÔÓ √ÎÙÒ‚ÚÈÔ ÙÔ˘

1962. ΔÔ Û˘ÁÎÚfiÙËÌ· ıÂÌÂÏÈÒıËÎÂ ÛÙÈ˜ 10 ª·˝Ô˘ 1964, ·ÊÔ‡

ÚÔËÁÔ˘Ì¤Óˆ˜ ÔÈ ÂÂÓ‰˘Ù¤˜ ·ÁfiÚ·Û·Ó 6.000 ÛÙÚ¤ÌÌ·Ù· ·ÁÚÔÙÈÎ‹˜

ÁË˜ ÛÙ· ¢È·‚·Ù¿ ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜. ∏ ÂÙ·ÈÚÂ›· ÃËÌÈÎ·› μÈÔÌË¯·Ó›·È

μÔÚÂ›Ô˘ ∂ÏÏ¿‰Ô˜ Û˘ÛÙ‹ıËÎÂ ÙÔ 1962. ΔÔ ÂÚÁÔÛÙ¿ÛÈÔ ‰ËÌÈÔ˘ÚÁ‹-

ıËÎÂ ÛÙÔ ¯ˆÚÈfi ¢È·‚·Ù¿ (‹‰Ë Û˘ÓÔÈÎÈÛÌfi ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜) Î·È

¿Ú¯ÈÛÂ Ó· ÏÂÈÙÔ˘ÚÁÂ› ÙÔ 1966.

Esso Pappas, 1965 ‹ 1966

ΔÔ ¢È¸ÏÈÛÙ‹ÚÈÔÓ £ÂÛÛ·ÏÔÓ›ÎË˜ ˘fi ·Ó¤ÁÂÚÛÈÓ. ŸÈÛıÂÓ ·È ÂÁÎ·Ù·ÛÙ¿ÛÂÈ˜ÏÈ·ÛÌ¿ÙˆÓ ÙË˜ ∞.∂. ÃËÌÈÎ·› μÈÔÌË¯·Ó›·ÈμÔÚÂ›Ô˘ ∂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 W O R K S 113

£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏254k

ΔÔ ‰È˘ÏÈÛÙ‹ÚÈÔ ¿Ú¯ÈÛÂ Ó· ÏÂÈÙÔ˘ÚÁÂ› ÙÔ ª¿ÈÔ ÙÔ˘ 1966. ∞Ì¤Ûˆ˜

ÌÂÙ¿ ÙËÓ ¤Ó·ÚÍË ÏÂÈÙÔ˘ÚÁ›·˜ ÙÔ˘, ÍÂÎ›ÓËÛÂ ÙÔ ÂÚÁÔÛÙ¿ÛÈÔ ·ÌÌˆÓ›·˜

Î·È Ô ·ÙÌÔÎ·Ù·Ï‡ÙË˜, Ô˘ ¯ÚËÛÈÌÔÔÈÔ‡ÛÂ ÙË Ó¿Êı· ·fi ÙÔ ‰È˘ÏÈ-

ÛÙ‹ÚÈÔ ÁÈ· ÙËÓ ·Ú·ÁˆÁ‹ ·Èı˘ÏÂÓ›Ô˘, ÚÔ˚fiÓ ·Ó·ÁÎ·›Ô ÁÈ· ÙÔ ÂÚÁÔ-

ÛÙ¿ÛÈÔ ÙË˜ «∂ı‡Ï», ÙÔ ÔÔ›Ô ÂÁÎ·ÈÓÈ¿ÛÙËÎÂ ÙËÓ ÂfiÌÂÓË ¯ÚÔÓÈ¿ ÛÙË

£ÂÛÛ·ÏÔÓ›ÎË.

ΔÔ Û˘ÁÎÚfiÙËÌ· ÙË˜ 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 W O R K S 114

£ ∂ ™ ™ ∞ § √ ¡ 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.

Ã 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


;Mats Lieberg, (ÂÈÌ. ÃÂÎ›ÌÔÁÏÔ˘ ∂.), £ÂÛÛ·ÏÔÓ›ÎË 1944: Δ· ÊˆÙÔÁÚ·-

ÊÈÎ¿ ÓÙÔÎÔ˘Ì¤ÓÙ· ÙÔ˘ Jean Lieberg, £ÂÛÛ·ÏÔÓ›ÎË 1999.

;∞Ó·ÛÙ·ÛÈ¿‰Ë˜ °. & ÃÂÎ›ÌÔÁÏÔ˘ ∂., ¢ËÌ‹ÙÚÈÔ˜ ¢›ÁÎ·˜ (1876-1974): √

ÚÒÙÔ˜ Ì·ÎÂ‰fiÓ·˜ ˘Ô˘ÚÁfi˜, £ÂÛÛ·ÏÔÓ›ÎË 2002.

;∞Ó·ÛÙ·ÛÈ¿‰Ë˜ °. & ÃÂÎ›ÌÔÁÏÔ˘ ∂., ∏ "¯·Ì¤ÓË ∂ÁÓ·Ù›·" ÙË˜ £ÂÛÛ·ÏÔÓ›-

ÎË˜, £ÂÛÛ·ÏÔÓ›ÎË 2002.

;∞Ó·ÛÙ·ÛÈ¿‰Ë˜ °. & ÃÂÎ›ÌÔÁÏÔ˘ ∂., ¶·Ú·Ï›·-§ÈÌ¿ÓÈ·-§Â˘Îfi˜ ¶‡ÚÁÔ˜: ∏

Ì¿¯Ë ÙË˜ ÌÓ‹ÌË˜, £ÂÛÛ·ÏÔÓ›ÎË 1998.

;∞Ó·ÛÙ·ÛÈ¿‰Ë˜ °. & ÃÂÎ›ÌÔÁÏÔ˘ ∂., Δ· ÚfiÛˆ· ÙË˜ ÌÓ‹ÌË˜: ∏ ÊˆÙÔ-

ÁÚ·Ê›· ÛÙË £ÂÛÛ·ÏÔÓ›ÎË ÙÔ˘ ªÂÛÔÔÏ¤ÌÔ˘, £ÂÛÛ·ÏÔÓ›ÎË 1998.

;∞Ó·ÛÙ·ÛÈ¿‰Ë˜ °. & ÃÂÎ›ÌÔÁÏÔ˘ ∂., ΔÛÈÌÈÛÎ‹-∞Á›·˜ ™ÔÊ›·˜-¢È·ÁÒÓÈÔ˜: ∏

‰È·‰ÚÔÌ‹ ÙË˜ ÌÓ‹ÌË˜, £ÂÛÛ·ÏÔÓ›ÎË 1997.

;μÂÏ¤ÓË˜ °., Δ· ÙÂ›¯Ë ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜, £ÂÛÛ·ÏÔÓ›ÎË 1998.

;°Ô‡Ó·ÚË˜ μ., 1884, ÂÓÙfi˜ ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘. ΔÔ ˙‹ÙËÌ· ÙË˜ ÌÂÙÔÓÔ-

Ì·Û›·˜ ÙÔ˘ ¶‡ÚÁÔ˘ ÙÔ˘ ∞›Ì·ÙÔ˜, £ÂÛÛ·ÏÔÓÈÎ¤ˆÓ ¶fiÏÈ˜/°Ú·Ê¤˜ Î·È

¶ËÁ¤˜ 6000 ¯ÚfiÓˆÓ, Ù¯. 1, £ÂÛÛ·ÏÔÓ›ÎË 1997, 100-105

;¢ËÌËÙÚÈ¿‰Ë˜ μ., ∏ ÙÔÔÁÚ·Ê›· ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜ Î·Ù¿ ÙËÓ ÂÔ¯‹ ÙË˜

ΔÔ˘ÚÎÔÎÚ·Ù›·˜ 1430-1912, £ÂÛÛ·ÏÔÓ›ÎË 1983.

;¢‹ÌÔ˜ £ÂÛÛ·ÏÔÓ›ÎË˜ & ∂ıÓÈÎfi ∫¤ÓÙÚÔ Ã·ÚÙÒÓ Î·È Ã·ÚÙÔÁÚ·ÊÈÎ‹˜

∫ÏËÚÔÓÔÌÈ¿˜ – ∂ıÓÈÎ‹ Ã·ÚÙÔı‹ÎË: Ã¿ÚÙÂ˜ ÔÏ‡Ê˘ÏÏÔÈ ÙË˜ £ÂÛÛ·ÏÔÓ›-

ÎË˜, ·ÂÈÎÔÓ›ÛÂÈ˜ ÙË˜ fiÏË˜ ÛÂ ÌÂÁ¿ÏË ÎÏ›Ì·Î·, Ù¤ÏË 19Ô˘ –·Ú¯¤˜ 20Ô‡

·È., £ÂÛÛ·ÏÔÓ›ÎË 2006.

;∂ıÓÈÎ‹ ΔÚ¿Â˙· ÙË˜ ∂ÏÏ¿‰Ô˜ / ¶ÔÏÈÙÈÛÙÈÎfi ∫¤ÓÙÚÔ μÔÚÂ›Ô˘ ∂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 ·ÏÈ¤˜ Î·ÚÙÔÛÙ¿Ï (1896-1913) [™˘ÏÏÔÁ‹ μ. ∞. ª·˘ÚÔÌÌ¿ÙË],

£ÂÛÛ·ÏÔÓ›ÎË 1990.

;∂ıÓÈÎ‹ ΔÚ¿Â˙· ÙË˜ ∂ÏÏ¿‰Ô˜ / ¶ÔÏÈÙÈÛÙÈÎfi ∫¤ÓÙÚÔ μÔÚÂ›Ô˘ ∂ÏÏ¿‰Ô˜, ∏

£ÂÛÛ·ÏÔÓ›ÎË Ì¤Û· ·fi ÙÔ Ê·Îfi ÙÔ˘ ªÂÁ¿ÏÔ˘ ¶ÔÏ¤ÌÔ˘: ºˆÙÔÁÚ·Ê›Â˜

ÙË˜ ™ÙÚ·ÙÈ¿˜ ÙË˜ ∞Ó·ÙÔÏ‹˜ (1915-1919), £ÂÛÛ·ÏÔÓ›ÎË 1991.

;∂ÏÂ˘ı¤Ú· ∑ÒÓË & §ÈÌ‹Ó £ÂÛÛ·ÏÔÓ›ÎË˜, √ §ÈÌ‹Ó £ÂÛÛ·ÏÔÓ›ÎË˜ 1925-

1960, £ÂÛÛ·ÏÔÓ›ÎË 1960.

;∫·Ú·‰‹ÌÔ˘-°ÂÚfiÏ˘ÌÔ˘ ∞ÏÂÍ¿Ó‰Ú·, ∏ ·ÓÔÈÎÔ‰fiÌËÛË ÙË˜ £ÂÛÛ·ÏÔÓ›-

ÎË˜ ÌÂÙ¿ ÙËÓ ˘ÚÎ·ÁÈ¿ ÙÔ˘ 1917, £ÂÛÛ·ÏÔÓ›ÎË 1986.

;∫·Ú·Ì‹ÙÛÔ˜ ¢., ∏ fiÏË Ì·˜ ÎÈ ÂÌÂ›˜ ¿ÏÏÔÙÂ Î·È ÙÒÚ·: £ÂÛÛ·ÏÔÓ›ÎË

1941-2005, £ÂÛÛ·ÏÔÓ›ÎË 2005.

;∫¤ÓÙÚÔ πÛÙÔÚ›·˜ £ÂÛÛ·ÏÔÓ›ÎË˜, ¤ÎıÂÛË ÈÛÙÔÚÈÎÒÓ ÓÙÔÎÔ˘Ì¤ÓÙˆÓ ÙË˜

£ÂÛÛ·ÏÔÓ›ÎË˜, £ÂÛÛ·ÏÔÓ›ÎË 1985.

;∫˘ÚÈ·˙fiÔ˘ÏÔ˜ μ., Δ· ÂÓ‹ÓÙ· ¯ÚfiÓÈ· ÙÔ˘ ¶·ÓÂÈÛÙËÌ›Ô˘ £ÂÛÛ·ÏÔÓ›-

ÎË˜ 1926-1976, £ÂÛÛ·ÏÔÓ›ÎË 1976.

;§¤ÙÛ·˜ ∞., πÛÙÔÚ›· ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜, Ù. ∞ã, £ÂÛÛ·ÏÔÓ›ÎË 1961.

;ª·ÎÂ‰ÔÓÈÎfi ªÔ˘ÛÂ›Ô ™‡Á¯ÚÔÓË˜ Δ¤¯ÓË˜ &ÀÔ˘ÚÁÂ›Ô ¶ÔÏÈÙÈÛÌÔ‡ &

¢‹ÌÔ˜ £ÂÛÛ·ÏÔÓ›ÎË˜ [ÂÈÌ. μ. ∫ÔÏÒÓ·˜], £ÂÛÛ·ÏÔÓ›ÎË 1912-1992: 8

‰ÂÎ·ÂÙ›Â˜ ÓÂÔÂÏÏËÓÈÎ‹˜ ·Ú¯ÈÙÂÎÙÔÓÈÎ‹˜, £ÂÛÛ·ÏÔÓ›ÎË 1993.

;ª·ÎÚ‹˜ º. - ¶··‰ËÌËÙÚ›Ô˘ Ã., «√È ‰È·‰Ô¯ÈÎ¤˜ Ê¿ÛÂÈ˜ Î˘ÚÈfiÙËÙ·˜ ÙÔ˘

¶·Ï·ÈÔ‡ ∫˘‚ÂÚÓÂ›Ô˘ ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜ (1915-1948)», π°ã ¶·ÓÂÏÏ‹ÓÈÔ

πÛÙÔÚÈÎfi ™˘Ó¤‰ÚÈÔ (29-31 ª·˝Ô˘ 1992) ¶Ú·ÎÙÈÎ¿, £ÂÛÛ·ÏÔÓ›ÎË 1993.

;ª·ÓÙÔÔ‡ÏÔ˘-¶·Ó·ÁÈˆÙÔÔ‡ÏÔ˘ £. & ÃÂÎ›ÌÔÁÏÔ˘ ∂., πÛÙÔÚ›· ÙË˜ ∂È-

¯ÂÈÚËÌ·ÙÈÎfiÙËÙ·˜ ÛÙË £ÂÛÛ·ÏÔÓ›ÎË. ∏ √ıˆÌ·ÓÈÎ‹ ¶ÂÚ›Ô‰Ô˜, ∫ÙËÌ·ÙÔ-

ÏÔÁÈÎ¤˜ ¶ËÁ¤˜. Δ¤ÏË 19Ô˘, ·Ú¯¤˜ 20Ô‡ ·ÈÒÓ·, £ÂÛÛ·ÏÔÓ›ÎË 2004.

;√ÚÁ·ÓÈÛÌfi˜ §ÈÌ¤ÓÔ˜ £ÂÛÛ·ÏÔÓ›ÎË˜, ∂ÓËÌÂÚˆÙÈÎfi ¢ÂÏÙ›Ô, £ÂÛÛ·ÏÔÓ›ÎË

2004.

;¶··‰ËÌËÙÚ›Ô˘ ¢., «√ Ó¤Ô˜ ÂÈ‚·ÙÈÎfi˜ ÛÈ‰ËÚÔ‰ÚÔÌÈÎfi˜ ÛÙ·ıÌfi˜ ÙË˜

£ÂÛÛ·ÏÔÓ›ÎË˜», £ÂÛÛ·ÏÔÓÈÎ¤ˆÓ ¶fiÏÈ˜ Ù¯. 13 (π·ÓÔ˘¿ÚÈÔ˜-ª¿ÚÙÈÔ˜

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;Port of Thessaloniki Organization, Bulletin, Thessaloniki 2004


;¶··‰ËÌËÙÚ›Ô˘ ¢., «ΔÔ ÙÚ·›ÓÔ ÙË˜ ª›ÎÚ·˜ ÛÙ· ¯ÚfiÓÈ· ÙÔ˘ ªÂÁ¿ÏÔ˘

¶ÔÏ¤ÌÔ˘ (1915-1918)», £ÂÛÛ·ÏÔÓÈÎ¤ˆÓ ¶fiÏÈ˜ Ù¯. 13 (π·ÓÔ˘¿ÚÈÔ˜-

ª¿ÚÙÈÔ˜ 2004) 84-95.

;¶··˙ÒÙÔ˜ £., «ΔÔ „ËÊÈ‰ˆÙfi ÙˆÓ ÎÙËÙfiÚˆÓ ÙÔ˘ ∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘ £ÂÛ-

Û·ÏÔÓ›ÎË˜», ª·ÎÂ‰ÔÓÈÎ¿, ¶·Ú¿ÚÙËÌ· ·Ú. 5, ∞ÊÈ¤ÚˆÌ· ÛÙË ÌÓ‹ÌË ™Ù˘-

ÏÈ·ÓÔ‡ ¶ÂÏÂÎ·Ó›‰Ë, £ÂÛÛ·ÏÔÓ›ÎË 1983 365-376.

;¶··ÛÙ¿ıË˜, Ã. & ÃÂÎ›ÌÔÁÏÔ˘ ∂., «∏ ¯·Ì¤ÓË Â˘Î·ÈÚ›· ÁÈ· ÔÈÎÔÓÔÌÈÎ‹

·˘Ù¿ÚÎÂÈ· ÙÔ˘ ·ÓÂÈÛÙËÌ›Ô˘ £ÂÛÛ·ÏÔÓ›ÎË˜: ∏ ÂÚÈÔ˘Û›· ÙË˜ Â› ÙÔ˘Ú-

ÎÔÎÚ·Ù›·˜ ÂÏÏËÓÈÎ‹˜ ÎÔÈÓfiÙËÙÔ˜», £ÂÛÛ·ÏÔÓÈÎ¤ˆÓ ¶fiÏÈ˜ Ù¯. 7 (ª¿ÚÙÈÔ˜

2002) 33-46.

;¶··ÛÙ¿ıË˜, Ã. & ÃÂÎ›ÌÔÁÏÔ˘ ∂., «∏ £ÂÛÛ·ÏÔÓ›ÎË ÙË˜ ˘ÚÎ·ÁÈ¿˜ 18-

19 ∞˘ÁÔ‡ÛÙÔ˘ 1917», £ÂÛÛ·ÏÔÓÈÎ¤ˆÓ ¶fiÏÈ˜ Ù¯. 11, (™ÂÙ¤Ì‚ÚÈÔ˜ 2003)

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;ƒÔ‡· ∂˘ÊÚÔÛ‡ÓË & ÃÂÎ›ÌÔÁÏÔ˘ ∂., πÛÙÔÚ›· ÙË˜ ∂È¯ÂÈÚËÌ·ÙÈÎfiÙËÙ·˜

ÛÙË £ÂÛÛ·ÏÔÓ›ÎË, 1900-1940. √È ÌÂÁ¿ÏÂ˜ ÂÈ¯ÂÈÚ‹ÛÂÈ˜ Î·È ÔÈ ÂÈ¯ÂÈÚË-

Ì·ÙÈÎ¤˜ ÔÈÎÔÁ¤ÓÂÈÂ˜, £ÂÛÛ·ÏÔÓ›ÎË 2004.

;™·‚‚·˝‰Ë˜ ¶. & ª·ÓÙ¤Ï·˜ ∞., ¶fiÏÈ˜ ¶·ÓÂÈÛÙËÌ›Ô˘ ¶fiÏÈ˜: ∏ ÈÛÙÔÚ›·

ÙÔ˘ ¯ÒÚÔ˘ ÙË˜ ¶·ÓÂÈÛÙËÌÈÔ‡ÔÏË˜ ÙÔ˘ ∞¶£ Ì¤Û· ·fi ¯¿ÚÙÂ˜ Î·È

ÙÔÔÁÚ·ÊÈÎ¿ ‰È·ÁÚ¿ÌÌ·Ù·, £ÂÛÛ·ÏÔÓ›ÎË 2000.

;™‡ÏÏÔÁÔ˜ ∞ÁÚÔÓfiÌˆÓ ΔÔÔÁÚ¿ÊˆÓ ªË¯·ÓÈÎÒÓ μfiÚÂÈ·˜ ∂ÏÏ¿‰·˜, £ÂÛ-

Û·ÏÔÓ›ÎË ÛÙÔ˘˜ ¯¿ÚÙÂ˜, £ÂÛÛ·ÏÔÓ›ÎË 19085.

;Δ˙ÈÔ‡Ù˙È· ∂Ï¤ÓË, ΔÔ ÙÂÓÂÎÂ‰¤ÓÈÔ ™¯ÔÏÂ›Ô ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜: ΔÔ Û¯ÔÏÂ›Ô

ÙˆÓ ÚÔÛÊ‡ÁˆÓ, £ÂÛÛ·ÏÔÓ›ÎË 2002.

;ÀÔ˘ÚÁÂ›ÔÓ ∫ÔÈÓˆÓÈÎ‹˜ ¶ÚÔÓÔ›·˜ – °ÂÓÈÎ‹ ¢ÈÂ‡ı˘ÓÛÈ˜ √ÈÎÈÛÌÔ‡, Ã¿Ú-

ÙË˜ £ÂÛ·ÏÔÓ›ÎË˜ 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˘ ÔÏ¤-

ÌÔ˘, £ÂÛÛ·ÏÔÓ›ÎË 1989.

;ÀÔ˘ÚÁÂ›Ô ¶ÔÏÈÙÈÛÌÔ‡-4Ë ∂ÊÔÚÂ›· ¡ÂˆÙ¤ÚˆÓ ªÓËÌÂ›ˆÓ, ¡ÂÒÙÂÚ· ÌÓË-

ÌÂ›· ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜, £ÂÛÛ·ÏÔÓ›ÎË, 1985-86.

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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.

;ÃÂÎ›ÌÔÁÏÔ˘ ∂. & ƒÔ‡· ∂., ¢ÈÂıÓ‹˜ ŒÎıÂÛË £ÂÛÛ·ÏÔÓ›ÎË˜ 1925-2000,

75 ¯ÚfiÓÈ· ÈÛÙÔÚ›·, £ÂÛÛ·ÏÔÓ›ÎË, 2000.

;ÃÂÎ›ÌÔÁÏÔ˘ ∂. & ƒÔ‡· ∂., ∏ ÔÈÎÔÓÔÌ›· ÙË˜ μfiÚÂÈ·˜ ∂ÏÏ¿‰·˜ Ì¤Û· ·fi

ÙÈ˜ ÛÂÏ›‰Â˜ ÙË˜ «μÈÔÌË¯·ÓÈÎ‹˜ ∂ÈıÂÒÚËÛË˜», 1955-1984, ∞ı‹Ó·

2004.

;ÃÂÎ›ÌÔÁÏÔ˘ ∂., ∏ ÈÛÙÔÚ›· ÙÔ˘ ÀÔ˘ÚÁÂ›Ô˘ ª·ÎÂ‰ÔÓ›·˜-£Ú¿ÎË˜, £ÂÛÛ·-

ÏÔÓ›ÎË 2005.

;ÃÂÎ›ÌÔÁÏÔ˘ ∂., £ÂÛÛ·ÏÔÓ›ÎË: ΔÔ˘ÚÎÔÎÚ·Ù›· Î·È ªÂÛÔfiÏÂÌÔ˜. ∫Â›ÌÂÓ·

ÁÈ· ÙËÓ ÈÛÙÔÚ›· Î·È ÙËÓ ÙÔÔÁÚ·Ê›· ÙË˜ fiÏË˜, £ÂÛÛ·ÏÔÓ›ÎË 1996.

;ÃÂÎ›ÌÔÁÏÔ˘ ∂., §ÂÍÈÎfi ∂È¯ÂÈÚËÌ·ÙÈÒÓ ÙË˜ £ÂÛÛ·ÏÔÓ›ÎË˜, 1900-1940.

∞˘ÙÔÙÂÏ‹˜ ÙfiÌÔ˜ ÛÙË ÛÂÈÚ¿ πÛÙÔÚ›· ÙË˜ ∂È¯ÂÈÚËÌ·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

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The hanging step to the West, Thessaloniki 1998

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Thessaloniki 1925 – 2000, 75 years of history, Thessaloniki, 2000

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through the pages of the "Viomichaniki Epitheorisi" [i.e. Industrial

Review], 1955 – 1984, Athens 2004

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1900 – 1940. Self-inclusive volume in the series of The History of

Entrepreneurship of Thessaloniki, Thessaloniki 2004.

μ π μ § π √ ° ƒ ∞ º π ∞


(∞Ó·Ê¤ÚÂÙ·È Ô ·ÚÈıÌfi˜ ÙË˜ ÊˆÙÔÁÚ·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·ÙÂ›· 98, 99

;ÕÁÈÔ˜ ¢ËÌ‹ÙÚÈÔ˜, Ó·fi˜ 79, 80, 81, 102. æËÊÈ‰ˆÙfi 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·ÏÔÓ›ÎË˜ 109, 110

;∞ÎÚÔfiÏÂˆ˜, Ô‰fi˜ 66

;∞ÎÚfiÔÏË 104

;∞Ï·Ù˙¿ πÌ·Ú¤Ù 79. ºÈ¿ÏË 80

;∞ÏÂ˘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, ·ÏÂ˘ÚfiÌ˘ÏÔ˜ 87, 88

;∞ÏÏ·Ù›ÓË, ÔÈÎ›· 88, 89

;∞Ó·ÁÂÓÓ‹ÛÂˆ˜, Ô‰fi˜ 4

;∞Ó¿ÎÙÔÚÔ 112

;ÕÓˆ ¶fiÏË 98, 104

;∞ÓÒÙ·ÙË μÈÔÌË¯·ÓÈÎ‹ ™¯ÔÏ‹ 97

;∞Ô‚¿ıÚ·, §Â˘ÎÔ‡ ¶‡ÚÁÔ˘ 37

;∞ÔÛÙfiÏÔ˘ ¶·‡ÏÔ˘ Ô‰fi˜ 73, 74

;∞Ú‰Â˘ÙÈÎ‹ ‰ÈÒÚ˘Á· 108

;∞ÚÈÛÙÔÙ¤ÏÔ˘˜, Ô‰fi˜ 102

;∞ÚÈÛÙÔÙ¤ÏÔ˘˜, Ï·ÙÂ›· 1, 6, 18, 28, 29, 102

;∞Ú¯·›· ∞ÁÔÚ¿ 1

;∞Ú¯·ÈÔÏÔÁÈÎfi ÌÔ˘ÛÂ›Ô 56, 58

;∞ÛÙÂÚÔÛÎÔÂ›Ô 65

;∞ÛÙfiÚÈ·, Î·ÊÂÓÂ›Ô Â› Ô‰Ô‡ ΔÛÈÌÈÛÎ‹, 95

;∞ÛÙfiÚÈ·, Î·ÊÂÓÂ›Ô ·Ú·ÏÈ·Îfi 30

;∞Ã∂¶∞, ÓÔÛÔÎÔÌÂ›Ô 1, 65

;μ·Ï·ÁÈ¿ÓÓË, Û¯ÔÏ‹ 97

;μ·Ï·Ô‡ÚË, Ì¤Á·ÚÔ 103

;μ·ÛÈÏ¤ˆ˜ °ÂˆÚÁ›Ô˘ Ô‰fi˜ 41, 42, 43, 44, 49

;μÂÓÈ˙¤ÏÔ˘ Ô‰fi˜ 24, 83, 93, 94, 101

;μÈÎÙfiÚÈ·, Ì¤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

;°ÂˆÚÁÈÎ‹ ΔÚ¿Â˙· ª·ÎÂ‰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


;¢∂£ 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 ∂ıÓÈÎ‹˜ ¶·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

;¢ÈÎ·ÛÙËÚ›ˆÓ, ¶Ï·ÙÂ›· 78, 102

;¢ÈÔÈÎËÙ‹ÚÈÔ 84, 85, 86

;¢ÚfiÛÔ˘, Ì¤Á·ÚÔ 5

;∂ÁÓ·Ù›·, Ô‰fi˜ (£ÂÛÛ·ÏÔÓ›ÎË˜) 7, 6, 72, 73, 77, 92, 93, 94

;∂ıÓÈÎ‹ ΔÚ¿Â˙·, ÎÂÓÙÚÈÎfi Î·Ù¿ÛÙËÌ· 5. ÀÔÎ·Ù¿ÛÙËÌ· ™ÈÓÙÚÈ‚·Ó›Ô˘ 74.

¶ÚÔÛˆÚÈÓ‹ ÛÙ¤Á·ÛË 97

;∂ıÓÈÎ‹˜ ∞Ì‡ÓË˜, Ô‰fi˜ 37, 38, 39, 41, 64, 104

;∂ı‡Ï, ‚ÈÔÌË¯·Ó›· 114

;∂ÏÂ˘ıÂÚ›·˜, Ï·ÙÂ›· 1, 5, 24. ΔfiÔ˜ Ì·ÚÙ˘Ú›Ô˘ 25, 26

;∂ÌÔÚÈÎ‹˜ ∂ÓÒÛÂˆ˜, Ì¤Á·ÚÔ 83

;ŒÓˆÛË ™˘ÓÙ·ÎÙÒÓ, ÁÚ·ÊÂ›· 96

;∂ÍÔ¯ÒÓ, ÏÂˆÊfiÚÔ˜ 39

;∂Ù·‡ÚÁÈÔ 67

;∂ÚÌÂ›ÔÓ, ÂÛÙÈ·ÙfiÚÈÔ 34, 35

;∂ÚÌÂ›ÔÓ, Ì¤Á·ÚÔ 83

;∂ÚÌÔ‡ Ô‰fi˜ 83, 98, 100, 101

;∂˘·ÁÁÂÏ›ÛÙÚÈ·, ÎÔÈÌËÙ‹ÚÈÔ 65

;∑ÔÁÁÔÏfiÔ˘ÏÔ˘, ÁÏ˘Ùfi 7

;∏ÏÂÎÙÚÈÎ‹ ÂÙ·ÈÚÂ›·, 29. ¶ÂÚ›ÙÂÚÔ ÛÙÔÓ Î‹Ô ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘ 40

;£¤·ÙÚ·: μ·ÛÈÏÈÎfi 1, 40, 44. ∫Ú·ÙÈÎfi μÔÚÂ›Ô˘ ∂ÏÏ¿‰Ô˜ 41. ™ÙÚ·ÙÈˆÙÈÎfi

43

;πÓÙ·ÓÙÈÁÈ¤, 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, Î·Ù¿ÛÙËÌ· 83

;∫·¿ÓÈ (·ÏÂ˘Ú·ÁÔÚ¿) 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, ∏Ï‡ÛÈ· 6,

47, ∫ÂÓÙÚÈÎfi 32, ¶·ÏÏ¿˜, 34

;∫ÔÌÓËÓÒÓ, Ô‰fi˜ 5, 100

;∫ÔÓÈfiÚ‰Ô˘, Ì¤Á·ÚÔ 28

;∫Ô˘ÓÙÔ˘ÚÈÒÙÔ˘, Ô‰fi˜ 39

;∫fiÊÊ·, Ì¤Á·ÚÔ 5

;∫˘„¤ÏË, ·ÓÙÔˆÏÂ›Ô 103

;§·ÔÁÚ·ÊÈÎfi ∂ıÓÔÏÔÁÈÎfi ªÔ˘ÛÂ›Ô ª·ÎÂ‰ÔÓ›·˜ 90, 105

;§¤Û¯Ë ºÚÔ˘Ú¿˜ £ÂÛÛ·ÏÔÓ›ÎË˜ 41, 104

;§Â˘ÎÔ‡ ¶‡ÚÁÔ˘, ∫‹Ô˜ 40

;§Â˘ÎÔ‡ ¶‡ÚÁÔ˘, Ï·ÙÂ›· 39, 41, 44

;§ÈÌ¤Ó·˜: ∫ÚË›‰ˆÌ· 14, 19, 20. ∫˘Ì·ÙÔıÚ·‡ÛÙË˜ 2, 16. ¡ËÛ›‰· 17.

¶ÚÔ‚Ï‹ÙÂ˜ 5, 6, 9, 15, 16, 17, 18, 19, 20. ΔÂÏˆÓÂ›Ô 5, 14, 19

;§Ô˘ÙÚ¿ ¶·Ú¿‰ÂÈÛÔ˜ 78

;§Ô¯›· ∂ÓÙ¤Ì, Ô‰fi˜ 21

;ª·ÎÂ‰ÔÓÈÎ‹˜ ∞Ì‡ÓË˜, Ô‰fi˜ 80

;ª·ÎÂ‰ÔÓÔÌ¿¯ˆÓ Ï·ÙÂ›· 98

;ªÂÁ¿ÏÔ˘ ∞ÏÂÍ¿Ó‰ÚÔ˘ ÏÂˆÊfiÚÔ˜, ‚Ï. ¡¤· ¶·Ú·Ï›·

;ªÂÙÂˆÚÔÛÎÔÂ›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 ¡


;ª›ÎÚ· 22

;ªÈÛÈÚÏfiÁÏÔ˘, ÎÏÈÓÈÎ‹ 98

;ªÔ‰È¿ÓÔ π·ÎÒ‚, Î·ÙÔÈÎ›· 90

;ªÔ‰È¿ÓÔ, ·ÁÔÚ¿ 100

;ªÔÓ·ÛÙËÚ›Ô˘, Ô‰fi˜ 4

;ªÔÚÁÎÂÓÙ¿Ô˘ Ô‰fi˜ 31

;ªÔÛÎÒÊ, Ì¤Á·ÚÔ 103

;ªÔ˘ÛÂ›Ô ª·ÎÂ‰ÔÓÈÎÔ‡ ∞ÁÒÓ·, ÎÙ›ÚÈÔ 97

;ª·ÏÙ·‰ÒÚÔ˘, ÔÈÎ›· 98

;ªÂ˙ÂÛÙ¤ÓÈ 83

;ª¤Ë Ã·Ì¿Ì 78, 93

;¡¤· ∞ÁÔÚ¿ 100

;¡¤· ¶·Ú·Ï›· ‹ ÏÂˆÊfiÚÔ˜ ªÂÁ¿ÏÔ˘ ∞ÏÂÍ¿Ó‰ÚÔ˘ 42, 90, 105

;¡¤ÔÈ ∂È‚¿ÙÂ˜ 30

;¡›ÎË˜, ÏÂˆÊfiÚÔ˜ 22

;¡ÈÎÔÏ¿Ô˘ °ÂÚÌ·ÓÔ‡, Ô‰fi˜ 44

;¡ÔÌ·Ú¯›· £ÂÛÛ·ÏÔÓ›ÎË˜, ÎÙ›ÚÈÔ 88

;¡ÔÛÔÎÔÌÂ›Ô, ∫ÂÓÙÚÈÎfi 65

;¡ÔÛÔÎfiÌˆÓ, Û¯ÔÏ‹ 65

;¡ÙÔÚ¤ Î·ÊÂÓÂ›Ô 48, 104

;•ÂÓÔ‰Ô¯Â›·: ∞μC 74, ª·˙¤ÛÙÈÎ 28, 30, ª·ÎÂ‰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¤ ÓÙÂ ™ÔÚ 5, 59, 65

;¶·Ó·Á›· Ã·ÏÎ¤ˆÓ, Ó·fi˜ 77, 78, 93

;¶·Ó·Á›·˜ ¢ÂÍÈ¿˜, Ó·fi˜ 74

;¶·ÓÂÈÛÙËÌÈ·Î‹ μÈ‚ÏÈÔı‹ÎË 7

;¶·ÓÂÈÛÙËÌÈÔ‡ÔÏË 65. °ÂˆÔÓÔ‰·ÛÔÏÔÁÈÎ‹ Û¯ÔÏ‹ 64, 65. £ÂÔÏÔÁÈÎ‹

Û¯ÔÏ‹ 65. π·ÙÚÈÎ‹ Û¯ÔÏ‹ 64. ∫ÙËÓÈ·ÙÚÈÎ‹ Û¯ÔÏ‹ 64. ∫ÙËÓÈ·ÙÚÈÎ¤˜ ÎÏÈ-

ÓÈÎ¤˜ 4. ¡√∂, Û¯ÔÏ‹, ÎÙ›ÚÈÔ 7. ¶ÔÏ˘ÙÂ¯ÓÈÎ‹ Û¯ÔÏ‹ 65. ºÈÏÔÛÔÊÈÎ‹ 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·ÙÈÎ‹ Û¯ÔÏ‹ 64, 65

;¶∞√∫ Á‹Â‰Ô 65

;¶·‡ÏÔ˘ ªÂÏ¿, Ô‰fi˜ 41, 47, 48, 103

;¶Â‰›Ô ÕÚÂˆ˜ 49, 56, 87

;¶ÂÚ·›· 30

;¶ÔÏ˘ÙÂ¯ÓÂ›Ô˘, Ô‰fi˜ 5

;¶ÚÔÍÂÓÂ›Ô ∏¶∞ 31, 32

;¶ÚÔÊ‹ÙË˜ ∏Ï›·˜, Ó·fi˜ 79

;¶ÙÈ ¶·Ï·›, ÛÊ·ÈÚÈÛÙ‹ÚÈÔ 31, 34

;¶˘Ï·›·, Û˘ÓÔÈÎÈÛÌfi˜ 2

;ƒÔÙfiÓÙ·, Â›ÛÔ‰Ô˜ 70, 72. ªÈÓ·Ú¤˜ 66

;™·Ï·Ì›ÓÔ˜, Ô‰fi˜ 5, 10, 11

;™·ÌÚ‹ ¶·Û¿, Ô‰fi˜ 24

;™·Ú¿ÓÙ· ∂ÎÎÏËÛÈ¤˜, Û˘ÓÔÈÎÈÛÌfi˜ 64, 104

;™·Ú¿ÓÙ· ∂ÎÎÏËÛÈÒÓ, Ô‰fi˜ 64

;™›ÁÁÂÚ Ì¤Á·ÚÔ 83, 101

;™È‰ËÚÔ‰ÚÔÌÈÎ‹ ÁÚ·ÌÌ‹ 4, 22, 24

;™È‰ËÚÔ‰ÚÔÌÈÎfi˜ ™Ù·ıÌfi˜ £ÂÛÛ·ÏÔÓ›ÎË˜ 4, 39, 111

;™ÈÓÙÚÈ‚¿ÓÈ 50

;™ÈÓÙÚÈ‚·Ó›Ô˘ Ï·ÙÂ›· 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

;ΔÂ›¯Ë ‚fiÚÂÈ· 66, 67, 71

;ΔÔ‡Ì· 2, 3, 4

;ΔÚ¿Â˙· ∞ıËÓÒÓ, ÎÙ›ÚÈÔ 5

;ΔÚ¿Â˙· μÈÔÌË¯·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 ¡


;ΔÚ¿Â˙· £ÂÛÛ·ÏÔÓ›ÎË˜, ·Ôı‹ÎÂ˜ 12, 13

;ΔÚÈÁÒÓÈÔ 66

;ΔÚÔ¯ÈÔ‰ÚÔÌÈÎ‹ ÁÚ·ÌÌ‹ 22, 24, 72

;ΔÛ·Ï‰¿ÚË, Û˘ÓÔÈÎÈÛÌfi˜ 64

;ΔÛÈÌÈÛÎ‹ Ô‰fi 5, 58, 95, 96, 102, 103, 104

;ΔÛÈÚÔÁÈ¿ÓÓË ÛÙÚ·ÙfiÂ‰Ô 42, 43

;ΔÛÈÚÔÁÈ¿ÓÓË, Ô‰fi˜ 47, 48

;Δ˘ÚÔÏfiË, Ì¤Á·ÚÔ 28, 30

;ÀÔ˘ÚÁÂ›Ô ª·ÎÂ‰ÔÓ›·˜ – £Ú¿ÎË˜, ÎÙ›ÚÈÔ 84

;º¿ÏËÚÔ, ÂÚÈÔ¯‹ 2

;ºÈÏÈÎ‹˜ ∂Ù·ÈÚÂ›·˜, Ô‰fi˜ 104

;ºÈÏ›Ô˘, Ô‰fi˜ ·Ï·È¿ 70, 71

;ºÔÈÙËÙÈÎ¤˜ ÂÛÙ›Â˜ 64

;ºÚ·ÓÛ¤˙ Ì¤Á·ÚÔ 31, 34, 36

;Ã·ÏÎ¤ˆÓ Ô‰fi˜ 77

;Ã·ÏÎ¤ˆÓ Δ¤ÌÂÓÔ˜ 77

;Ã¿Ì˙· ª¤Ë 92, 94

;Ã·ÌÈÓÙÈ¤, Ô‰fi˜ 38

;Ã∞¡£, Ì¤Á·ÚÔ 43, 91

;Ã∞¡£, Ï·ÙÂ›· 50, 58, 62

;Ã·ÚÈÏ¿Ô˘, ÂÚÈÔ¯‹ 2

;ÃÂÈÌ¿ÚÚÔ˜ Ô‰Ô‡ ∞ÁÁÂÏ¿ÎË, 55

;ÃËÌÂ›Ô 64, 65

;ÃËÌÈÎ·› μÈÔÌË¯·Ó›·È μÔÚÂ›Ô˘ ∂ÏÏ¿‰Ô˜ 113

;ÃÚ˘ÛÔÛÙfiÌÔ˘ ™Ì‡ÚÓË˜, 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

Θεσσαλονίκη - Τεκμήρια Φωτογραφικού αρχείου

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