MESSAGE
∏ ·ÍÈÔÔ›ËÛË Ù˘ ÙÂÚ¿ÛÙÈ·˜ ÔÏÈÙÈÛÙÈ΋˜ ÎÏËÚÔÓÔÌÈ¿˜ Ì·˜ - ·Ú¯·›·˜, ‚˘˙·ÓÙÈÓ‹˜, ÓÂfiÙÂÚ˘ Î·È Û‡Á¯ÚÔÓ˘ - Â›Ó·È ÁÈ· ÙËÓ ∂ÏÏ¿‰· Î·È ÙÔ˘˜ ã∂ÏÏËÓ˜ Ì›· ·fi ÙȘ ÌÂÁ·Ï‡ÙÂÚ˜ ÚÔÎÏ‹ÛÂȘ Ù˘ Ó¤·˜ ÂÔ¯‹˜. ªÂ ÙËÓ ÂÔ›ıËÛË fiÙÈ Ë ‰È·‰Èηۛ· ÙÔ˘ ÔÏÈÙÈÛÌÔ‡ ‰ÂÓ ÂÚÈÔÚ›˙ÂÙ·È ·ÏÒ˜ ÛÙË Û˘ÓÙËÚËÙÈ΋ ‰È·¯Â›ÚÈÛË ÙÔ˘ ·ÚÂÏıfiÓÙÔ˜, ·ÏÏ¿ ÂÂÎÙ›ÓÂÙ·È ÛÙËÓ ÂÍ·ÛÊ¿ÏÈÛË ÙˆÓ fiÚˆÓ ÁÈ· ÙË ‰ËÌÈÔ˘ÚÁ›· ÙÔ˘ ̤ÏÏÔÓÙÔ˜, Û‹ÌÂÚ·, ÂÚÈÛÛfiÙÂÚÔ ·fi ÔÙ¤ ¿ÏÏÔÙÂ, ¤¯Ô˘Ì ÙË ÌÂÁ¿ÏË Â˘Î·ÈÚ›· Ó· ÂÓÒÛÔ˘Ì ÙȘ ‰˘Ó¿ÌÂȘ Ì·˜ ÛÙËÓ ˘fiıÂÛË ÙÔ˘ ÔÏÈÙÈÛÌÔ‡. ™’ ·˘Ùfi ÙÔ Ó‡̷, Ë °ÂÓÈ΋ °Ú·ÌÌ·Ù›· ∂ÈÎÔÈÓˆÓ›·˜ Î·È Ë °ÂÓÈ΋ °Ú·ÌÌ·Ù›· ∂ÓË̤ڈÛ˘ ÚÔ¯ÒÚËÛ·Ó ÛÙËÓ ¤Î‰ÔÛË ÙÔ˘ ·ÚfiÓÙÔ˜ ÙfiÌÔ˘ Ô˘ ·ÓıÔÏÔÁ› ÙÂÎÌ‹ÚÈ· ÙÔ˘ ʈÙÔÁÚ·ÊÈÎÔ‡ ·Ú¯Â›Ô˘ ÙÔ˘˜ Ì ı¤Ì· ÙË £ÂÛÛ·ÏÔÓ›ÎË. ∏ ¤Î‰ÔÛË ·˘Ù‹ Â›Ó·È Ì¤ÚÔ˜ ÌfiÓÔ Ù˘ ¢ڇÙÂÚ˘ ÚÔÛ¿ıÂÈ·˜ ÁÈ· ÙË Û˘ÁΤÓÙÚˆÛË, Ù·ÍÈÓfiÌËÛË Î·È ·ÍÈÔÔ›ËÛË ÙÔ˘ ÙÂÚ¿ÛÙÈÔ˘ ÔÙÈÎÔ·ÎÔ˘ÛÙÈÎÔ‡ ˘ÏÈÎÔ‡ Ù˘ ¯ÒÚ·˜ ˘fi ÙË Û˘ÓÙÔÓÈÛÙÈ΋ ·ÈÁ›‰· ÙÔ˘ ∂ıÓÈÎÔ‡ √ÙÈÎÔ·ÎÔ˘ÛÙÈÎÔ‡ ∞Ú¯Â›Ô˘. ∂ÓÙ·ÛÛfiÌÂÓÔ ÏÔÈfiÓ ÙÔ Ï‡Έ̷ ·˘Ùfi Û ¤Ó· ¢ڇÙÂÚÔ, ÂÍ’ ÔÚÈÛÌÔ‡ ·¯·Ó¤˜ Î·È ·ÓÂÍ¿ÓÙÏËÙÔ ¤ÚÁÔ, ·ÔÎÙ¿ ÌÈ· ͯˆÚÈÛÙ‹ ÛËÌ·Û›·: ·Ô‰ÂÈÎÓ‡ÂÈ fiÙÈ Ë ÚÔÛ¿ıÂÈ· Ó· Á›ÓÂÈ Í·Ó¿ ÚÔÛÈÙfi ÛÙȘ ∂ÏÏËÓ›‰Â˜ Î·È ÙÔ˘˜ ã∂ÏÏËÓ˜ ·˘Ùfi ÙÔ ÎÂÊ¿Ï·ÈÔ ÙÔ˘ ÔÏÈÙÈÛÌÔ‡ Î·È Ù˘ ÈÛÙÔÚ›·˜ Ì·˜ ÌÔÚ› Ó· ·Ô‰ÒÛÂÈ ·ÔÙÂϤÛÌ·Ù· ·ÈÛıËÙÈο ¿ÚÙÈ· Î·È ¯Ú‹ÛÈÌ· Û fiÔÈÔÓ ÂӉȷʤÚÂÙ·È Ó· Ù· ÌÂÏÂÙ‹ÛÂÈ. ªÂ ·˘Ùfi ÙÔ ·›ÛıËÌ· Ù˘ ·ÈÛÈÔ‰ÔÍ›·˜ ÁÈ· ÙË Û˘Ó¤¯ÂÈ·, Û˘Á¯·›Úˆ ÂÈÏÈÎÚÈÓ¿ fiÏÔ˘˜ fiÛÔÈ ÂÚÁ¿ÛÙËÎ·Ó ÁÈ· ÙËÓ ¤Î‰ÔÛË ·˘Ù‹. £. ƒ√À™√¶√À§√™, YÔ˘ÚÁfi˜ ∂ÈÎÚ·Ù›·˜ Î·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 ROUSSOPOULOS, Minister of State and Government Spokesman
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INTRODUCTION
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· ÙÂÎÌ‹ÚÈ· ·fi ÙÔ ºˆÙÔÁÚ·ÊÈÎfi ∞Ú¯Â›Ô Ù˘ °ÂÓÈ΋˜ °Ú·ÌÌ·Ù›·˜ ∂ÈÎÔÈÓˆÓ›·˜ - °ÂÓÈ΋˜ °Ú·ÌÌ·Ù›·˜ ∂ÓË̤ڈÛ˘
he documents from the Photo Archive of the Secretariat General of Communication – Secretariat General of
Û˘ÓÈÛÙÔ‡Ó ÔχÙÈÌË Û˘Ì‚ÔÏ‹ ÛÙÔ ·fiıÂÌ· ÙˆÓ ÂÈηÛÙÈÎÒÓ ÙÂÎÌËÚ›ˆÓ Ô˘ ·ÊÔÚÔ‡Ó ÙË ÓÂfiÙÂÚË Î·È ÙË Û‡Á¯ÚÔÓË £ÂÛÛ·ÏÔÓ›ÎË, Û˘Ì‚ÔÏ‹ ·fi ÙËÓ ÔÔ›· ÔÈ ÈÛÙÔÚÈΤ˜ Î·È ·ÓıÚˆÈÛÙÈΤ˜ ¤Ú¢Ó˜ ¤¯Ô˘Ó ÔÏÏ¿ Ó· ˆÊÂÏËıÔ‡Ó. ΔÔ ˘ÏÈÎfi Ô˘ ÂÈϤ¯ıËΠˆ˜ ·ÓÙÈÚÔÛˆÂ˘ÙÈÎfi ÂÚÈÏ·Ì‚¿ÓÂÈ 114 ʈÙÔÁÚ·ÊÈΤ˜ Ï‹„ÂȘ, ·fi ÙȘ Ôԛ˜ 35 Ú·ÁÌ·ÙÔÔÈ‹ıËÎ·Ó ÚÈÓ Î·È Î·Ù¿ ÙÔ ‰Â‡ÙÂÚÔ ·ÁÎfiÛÌÈÔ fiÏÂÌÔ Î·È 79 ÌÂÙ¿ ·fi ·˘ÙfiÓ. Δ¤ÛÛÂÚȘ Ï‹„ÂȘ ·Ó¿ÁÔÓÙ·È ÛÙËÓ ÂÚ›Ô‰Ô ÚÈÓ ·fi ÙËÓ ·ÂÏ¢ı¤ÚˆÛË Ù˘ £ÂÛÛ·ÏÔӛ΢ (1912), 18 ÛÙËÓ ÂÚ›Ô‰Ô ·fi ÙËÓ ·ÂÏ¢ı¤ÚˆÛË Ì¤¯ÚÈ Î·È ÙË ÌÂÁ¿ÏË ˘ÚηÁÈ¿ ÙÔ˘ 1917, 10 Ï‹„ÂȘ ¤ÁÈÓ·Ó ÛÙËÓ ÂÚ›Ô‰Ô ÙÔ˘ ªÂÛÔÔϤÌÔ˘ Î·È 3 ÛÙËÓ ÂÚ›Ô‰Ô Ù˘ ∫·ÙÔ¯‹˜. ™Â fi,ÙÈ ·ÊÔÚ¿ ÙË ÌÂÙ·ÔÏÂÌÈ΋ ÂÚ›Ô‰Ô, 9 Ï‹„ÂȘ Ú·ÁÌ·ÙÔÔÈ‹ıËÎ·Ó Î·Ù¿ ÙË ‰ÂηÂÙ›· ÙÔ˘ 1940, 20 ÛÙË ‰ÂηÂÙ›· ÙÔ˘ 1950, 37 ÛÙË ‰ÂηÂÙ›· ÙÔ˘ 1960 Î·È 13 ÛÙË ‰ÂηÂÙ›· ÙÔ˘ 1970. ∏ ̤ÛË ËÏÈΛ· ÙˆÓ ÊˆÙÔÁÚ·ÊÈÒÓ Â›Ó·È 60 ÂÙÒÓ. √È ÂÚÈÛÛfiÙÂÚ˜ ‰ÂÓ ¤¯Ô˘Ó ‰ËÌÔÛÈ¢Ù› Û ÚÔÛÈÙ¿ ¤ÓÙ˘· ‹ ·Ú¤ÌÂÈÓ·Ó ·Ó¤Î‰ÔÙ˜. ∏ ʈÙÔÁÚ·Ê›·, fiˆ˜ Î·È Î¿ı ÂÈηÛÙÈÎfi ÙÂÎÌ‹ÚÈÔ, ‰ÂÓ ¤¯ÂÈ «Ô˘‰¤ÙÂÚÔ» ¯·Ú·ÎÙ‹Ú·. √ ‰ËÌÈÔ˘ÚÁfi˜ Ù˘ ¤¯ÂÈ ÂÈϤÍÂÈ ÙÈ ÂÈı˘Ì› Ó· ··ı·Ó·Ù›ÛÂÈ, ¤¯ÂÈ ‰ËÏ·‰‹ ·ÔÎÏ›ÛÂÈ fi,ÙÈ ‰ÂÓ ÂÈı˘Ì›. ™˘ÓÂÒ˜, Ë ¯Ú‹ÛË Ù˘ ʈÙÔÁÚ·Ê›·˜ ÁÈ· ÂÈÛÙËÌÔÓÈÎÔ‡˜ ÏfiÁÔ˘˜ ··ÈÙ› ÌÂÁ¿ÏË ÚÔÛÔ¯‹ Î·È Ë ÂÈÙ˘¯›· Ù˘ ÛÙËÚ›˙ÂÙ·È ÛÙËÓ Â·Ú΋ ·Ó·ÁÓÒÚÈÛË ÙÔ˘ ÛÎÔÔ‡ ÁÈ· ÙÔÓ ÔÔ›Ô ¤ÁÈÓÂ Ë Ï‹„Ë. √‡Ù fï˜ Î·È Ë ·Ó¿ÁÓˆÛË Ù˘
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
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ʈÙÔÁÚ·Ê›·˜ Â›Ó·È «Ô˘‰¤ÙÂÚË» ÏÂÈÙÔ˘ÚÁ›·. ŒÎ·ÛÙÔ˜ ı· ‰È·ÈÛÙÒÛÂÈ Ì¤Û· ÛÙÔ ÔÙÈÎfi ÙÂÎÌ‹ÚÈÔ fiÛ· Â›Ó·È ÚÔÂÙÔÈÌ·Ṳ̂ÓÔ˜ Ó· ‰ÂÈ ‹ Ó· ·Ó·˙ËÙ‹ÛÂÈ. ∏ Ú‹ÛË fiÙÈ «Ì›· ÂÈÎfiÓ· ·Í›˙ÂÈ fiÛÔ ‰¤Î· ¯ÈÏÈ¿‰Â˜ ϤÍÂȘ» ¤¯ÂÈ ˆ˜ ÚÔ¸fiıÂÛË fiÙÈ Ô ı·ً˜ Ù˘ ÂÈÎfiÓ·˜ Â›Ó·È Û ı¤ÛË Ó· ηٷÓÔ‹ÛÂÈ ÙÔ ÂÚȯfiÌÂÓfi Ù˘. Àfi ÙËÓ ¤ÓÓÔÈ· ·˘Ù‹, ›Ûˆ˜ ÌÂÚÈΤ˜ ÊÔÚ¤˜ ÌfiÓÔ ÌÈ· ϤÍË Ó· ·Í›˙ÂÈ fiÛÔ ‰¤Î· ¯ÈÏÈ¿‰Â˜ ÂÈÎfiÓ˜. °È· Ó· ηٷÓÔËı› ηχÙÂÚ·, ÙÔ ˘ÏÈÎfi ηٷٿ¯ıËΠ۠ÔÎÙÒ ÂÓfiÙËÙ˜. ΔÔ ‚·ÛÈÎfi ÎÚÈÙ‹ÚÈÔ ÁÈ· ÙËÓ Î·Ù¿Ù·ÍË ‹Ù·Ó ÁˆÁÚ·ÊÈÎfi. ŸÌˆ˜, Ë ÁˆÁÚ·Ê›· Â›Ó·È Â‰›Ô, ·ÈÙ›· Î·È ·ÔÙ¤ÏÂÛÌ· ÈÛÙÔÚÈÎÒÓ ÂÍÂϛ͈Ó. ∏ ·ÚÈ· ÂͤÏÈÍË, Ô˘ ¤Ú ӷ ÈÛÙÔÚËı› ÂÓ ÚÔÎÂÈ̤ӈ, ‹Ù·Ó Ë ›‰È· Ô˘ ÛËÌÂÈÒıËΠ۠fiϘ ÙȘ fiÏÂȘ ÙÔ˘ ÎfiÛÌÔ˘. ª¤Û· Û ÌÂÚÈΤ˜ ‰ÂηÂٛ˜ –Û˘¯Ó¿ ̤۷ ÛÙËÓ ›‰È· ‰ÂηÂÙ›·- ÛÙË £ÂÛÛ·ÏÔÓ›ÎË ÛËÌÂÈÒıËÎ·Ó ÌÂÙ·‚ÔϤ˜ Ô˘ ¿ÏÏÔÙ ı· ¯ÚÂÈ¿˙ÔÓÙ·Ó ·ÈÒÓ˜ ÁÈ· Ó· ¤ÏıÔ˘Ó. ∞˘Ù‹ Ë ‰È·›ÛÙˆÛË Á›ÓÂÙ·È Î·Ù·Ú¯¿˜ ·ÓÙÈÏËÙ‹ ÛÙÔÓ ÔÏÏ·Ï·ÛÈ·ÛÌfi ÙÔ˘ ¯ÒÚÔ˘ Ô˘ ηٷϷ̂¿ÓÂÈ Ë fiÏË Î·È ÛÙËÓ ÂÓÙ˘ˆÛȷ΋ ·‡ÍËÛË ÙÔ˘ ÏËı˘ÛÌÔ‡ Î·È Ù˘ ÔÈÎÈÛÙÈ΋˜ ˘ÎÓfiÙËÙ¿˜ Ù˘. °›ÓÂÙ·È, ›Û˘, Î·È ·ÓÙÈÏËÙ‹ ·fi ÙË ‰ËÌÈÔ˘ÚÁ›· Ó¤ˆÓ ˘Ú‹ÓˆÓ Î·È ÏÂÈÙÔ˘ÚÁÈÒÓ Ô˘ ·ÓÙÈηıÈÛÙÔ‡Ó ·Ï·ÈfiÙÂÚ˜. ™ËÌ·Û›· ¤¯ÂÈ Ó· ÂȉÂȯı› Ë ·ÏÏ·Á‹ ÛÙËÓ Îϛ̷η: ∂› ·ÈÒÓ˜, ÙÔ ı·Ï¿ÛÛÈÔ ÂÌfiÚÈÔ Ù˘ £ÂÛÛ·ÏÔӛ΢ ÁÈÓfiÙ·Ó Ì ÌÈ· ͇ÏÈÓË ÛοϷ. ¢ÂÓ ¤¯ÂÈ Î·Ó›˜ ·Ú¿ Ó· ‰È·‚¿ÛÂÈ ÚÔÛÂÎÙÈο ÙȘ ÛËÌÂÈÒÛÂȘ Ù˘ ‰Â‡ÙÂÚ˘ ÂÓfiÙËÙ·˜ ÁÈ· Ó· ‰È·ÈÛÙÒÛÂÈ fiÛÔ ÁÚ‹ÁÔÚ· ¿ÏÏ·ÍÂ Ë £ÂÛÛ·ÏÔÓ›ÎË Ì·˙› Ì ÙÔ ÏÈÌ¿ÓÈ Ù˘. √È ÔÎÙÒ ÂÓfiÙËÙ˜ Û˘Ó‰˘¿˙ÔÓÙ·È Î·È Û οÔÈÔ ‚·ıÌfi ·ÏÏËÏÂÈηχÙÔÓÙ·È. ∂›Ó·È ÔÈ ·ÎfiÏÔ˘ı˜: ∞ÂÚÔʈÙÔÁڷʛ˜: ∏ ÚÒÙË ÂÓfiÙËÙ· ÂÚÈÏ·Ì‚¿ÓÂÈ ÂÙ¿ ·ÂÚÔʈÙÔÁڷʛ˜, ÔÈ Ôԛ˜ ÚÔÙ¿¯ıËÎ·Ó ‰ÈfiÙÈ ÂÈÙÚ¤Ô˘Ó Ó· Û¯ËÌ·Ù›ÛÂÈ Ô ·Ó·ÁÓÒÛÙ˘ ÁÂÓÈ΋ ÂÈÎfiÓ· ÙÔ˘ ÔÏÂÔ‰ÔÌÈÎÔ‡ Û˘ÁÎÚÔÙ‹Ì·ÙÔ˜ Ù˘ £ÂÛÛ·ÏÔӛ΢ Î·È Ù˘ Îϛ̷η˜ ÙˆÓ ÌÂÙ·‚ÔÏÒÓ ÙÔ˘. ΔÔ ÂÈÏÂÁ̤ÓÔ ˘ÏÈÎfi ÂÚÈÏ·Ì‚¿ÓÂÈ Î·È ¿ÏϘ ·ÂÚÔʈÙÔÁڷʛ˜, Ô˘ ηٷٿ¯ıËÎ·Ó fï˜ Û › ̤ÚÔ˘˜ ÂÓfiÙËÙ˜ ÏfiÁˆ ÙÔ˘ ÂȉÈÎÔ‡ ÂӉȷʤÚÔÓÙfi˜ ÙÔ˘˜.
acknowledgement of the photograph constitutes a "neutral" function. In each visual document, one discovers all those things that he/she is ready to see or search for. The dictum "a picture is worth one thousand words" presupposes that the spectator of this picture is able to perceive its content. In this sense, maybe sometimes a single word is worth one thousand pictures. In order to be better perceived, the material was divided into eight units. The basic criterion for such a division has been geography. However, geography is a field and a cause – as well as the outcome – of historical changes. The main course that had to be narrated here was the same one that took place in all the cities in the world. Within a few decades – often even within the same decade – Thessaloniki underwent changes which would otherwise need whole centuries to take place. This notion is firstly evident in both the spatial expansion of the city and the impressive increase of its population and residential density. It is also evident in the establishment of new cadres and functions which replaced the previous ones. The important thing is the change in scale to be shown: For centuries, the sea trade of Thessaloniki was held by means of a wooden wharf. One has just to pore in the annotations of the second unit to discover the fast change of Thessaloniki and its port. These eight units – which are combined and at some extend overlap – are the following: Photomaps: The first unit comprises seven photomaps, which have been included as they enable the reader to get the general picture of the urban tissue of Thessaloniki and the extent of the changes it underwent. The material chosen includes some other photomaps as well, yet placed in other units because of their special significance.
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I N T R O D U C T I O N
§ÈÌ¿ÓÈ: ∏ ‰Â‡ÙÂÚË ÂÓfiÙËÙ· ÂÚÈÏ·Ì‚¿ÓÂÈ Ï‹„ÂȘ ·fi ÙÔ ÏÈÌ¿ÓÈ Ù˘ £ÂÛÛ·ÏÔӛ΢. ∂ÎÙfi˜ ·fi ÙË ÛËÌ·Û›· ÙÔ˘ ÏÈÌ·ÓÈÔ‡ ÁÈ· ÙËÓ ÔÈÎÔÓÔÌÈ΋ ˙ˆ‹ Ù˘ fiÏ˘ Î·È Ù˘ ÂÚÈʤÚÂÈ¿˜ Ù˘, Ë ÁˆÁÚ·ÊÈ΋ ı¤ÛË ÙÔ˘ ‰È¢ÎÔχÓÂÈ ÙË ÊˆÙÔÁÚ·ÊÈ΋ ηٷÁÚ·Ê‹ ÌÂÈ˙fiÓˆÓ ÌÂÙ·‚ÔÏÒÓ ÛÙÔ Â˘Ú‡ÙÂÚÔ ÔÏÂÔ‰ÔÌÈÎfi Û˘ÁÎÚfiÙËÌ·. ¶ÚÔÎ˘Ì·›·: ∏ ÙÚ›ÙË ÂÓfiÙËÙ· ÂÚÈÏ·Ì‚¿ÓÂÈ ÙËÓ ÚÔÎ˘Ì·›· Ù˘ £ÂÛÛ·ÏÔӛ΢, ·˘Ù‹Ó Ô˘ ·Ï·ÈfiÙÂÚ· ·ÔÙ¤ÏÂÛ ÙÔ ı·Ï·ÛÛÈÓfi ÚfiÛˆÔ Ù˘ fiÏ˘. √È ÊˆÙÔÁÚ·ÊÈΤ˜ Ï‹„ÂȘ ηٷÁÚ¿ÊÔ˘Ó Û˘ÁÎÚ›ÛÈ̘ ÌÂÙ·‚ÔϤ˜ ÛÙÔ ‰ÔÌË̤ÓÔ ÂÚÈ‚¿ÏÏÔÓ Î·È ÛÙÔ˘˜ ·ÓıÚÒÔ˘˜ Ô˘ ·ÂÈÎÔÓ›˙ÔÓÙ·È Ì·˙› ÙÔ˘. ΔÔ ÂӉȷʤÚÔÓ Ù˘ ÂÓfiÙËÙ¿˜ ·˘Ù‹˜ Â›Ó·È Î˘Ú›ˆ˜ ·ÈÛıËÙÈÎfi. √È ÌÂÙ·‚ÔϤ˜ ·ÊÔÚÔ‡Ó ÙË ÌÈÎÚ‹ Îϛ̷η ÙÔ˘ ȉȈÙÈÎÔ‡ ‚›Ô˘. §Â˘Îfi˜ ¶‡ÚÁÔ˜: ∏ ٤ٷÚÙË ÂÓfiÙËÙ· ¤¯ÂÈ ˆ˜ ›ÎÂÓÙÚÔ ÙÔ §Â˘Îfi ¶‡ÚÁÔ Î·È ÂÚÈÏ·Ì‚¿ÓÂÈ Ï‹„ÂȘ Ô˘ ›¯·Ó ˆ˜ ·ÓÙÈΛÌÂÓÔ Â›Ù ÙÔ ÌÓËÌÂ›Ô Î·ı’ ·˘Ùfi ›Ù ÙÔÓ ÂÚÈ‚¿ÏÏÔÓÙ· ¯ÒÚÔ ÙÔ˘. ÿÛˆ˜ Ë ·ÎÔÏÔ˘ı›· ÙˆÓ ÂÈÎfiÓˆÓ ‚ÔËı¿ Ï›ÁÔ Ó· ·ÓÙÈÏËÊıԇ̠ÁÈ· ÔÈÔ ÏfiÁÔ Ô ‡ÚÁÔ˜ ·˘Ùfi˜ ·ÔÙ¤ÏÂÛ ÛÙ·‰È·Î¿ Û‹Ì· ηٷÙÂı¤Ó Ù˘ fiÏ˘, ̤۷ ·fi ÙË ÌÂÙ·‚ÔÏ‹ ÙÔ˘ ‰ÔÌË̤ÓÔ˘ ÂÚÈ‚¿ÏÏÔÓÙfi˜ ÙÔ˘. ∞¶£ & ¢∂£: ∏ ¤ÌÙË ÂÓfiÙËÙ· «·ÊËÁ›ٷȻ ÙË ÌÂÙ·ÙÚÔ‹ ÙÔ˘ › ÙÔ˘ÚÎÔÎÚ·Ù›·˜ ÎÔÈÌËÙËÚÈ·ÎÔ‡ ÙfiÔ˘ Û ·ÓÂÈÛÙËÌÈÔ‡ÔÏË Î·È fiÏË ÂÎı¤ÛˆÓ. √È ÊˆÙÔÁڷʛ˜ Ù˘ ÂÓfiÙËÙ·˜ ·˘Ù‹˜ ¤¯Ô˘Ó ÂȉÈ΋ ÛËÌ·Û›·, ‰ÈfiÙÈ ‰Â›¯ÓÔ˘Ó Ò˜ ÔÈ ¯Ú‹ÛÂȘ ÙÔ˘ ¯ÒÚÔ˘ ‰È·‰¤¯ÔÓÙ·È Ë Ì›· ÙËÓ ¿ÏÏË Î·È Ò˜ ¤Ó·˜ «·Î¿Ï˘ÙÔ˜» ÙfiÔ˜ ‰È¤Ê˘Á ÙÔÓ Î›Ó‰˘ÓÔ Ó· ÌÂÙ·Ùڷ› Û ÚÔÛÊ˘ÁÈÎfi ÔÈÎÈÛÌfi Î·È ÂÓÙ¿¯ıËΠÛÙÔ ·ÛÙÈÎfi ‰›ÎÙ˘Ô. ªÓËÌ›·: ∏ ¤ÎÙË ÂÓfiÙËÙ· ÂÚÈÏ·Ì‚¿ÓÂÈ ÌÓËÌ›· Ù˘ £ÂÛÛ·ÏÔӛ΢, ·fi ‰È¿ÊÔÚ˜ ÂÚÈfi‰Ô˘˜ Ù˘ ÈÛÙÔÚ›·˜ Ù˘, Î·È ÙÔ˘˜ ÂÚÈ‚¿ÏÏÔÓÙ˜ ¯ÒÚÔ˘˜ ÙÔ˘˜. ªÂÚÈΤ˜ ÊÔÚ¤˜ ÔÈ ÌÂÙ·‚ÔϤ˜ ÛÙÔ ÂÚÈ‚¿ÏÏÔÓ Â›Ó·È ÙfiÛÔ ¤ÓÙÔÓ˜, ÒÛÙ ·ÔÛÔ‡Ó ÙÔ ÂӉȷʤÚÔÓ ·fi Ù· ÌÓËÌ›· ηı’ ·˘Ù¿. ∏ ÂÓ‰fiÙÂÚË ÂÚÈÔ¯‹: ∏ ¤‚‰ÔÌË ÂÓfiÙËÙ· ÂÚÈÏ·Ì‚¿ÓÂÈ Ï‹„ÂȘ ·fi
The port: The second unit includes photos of the port of Thessaloniki. Apart from the significance of the port for the financial life of the city and its boroughs, the location facilitates the photographic recording of the wide-range changes that took place in the greater urban tissue of the city. The quay: The third unit includes the quay of Thessaloniki; the one which previously constituted the marine character of the city. These shots record the comparative changes in both buildings and people portrayed. This unit is very significant mainly from an aesthetic point of view. These changes concern private life in a limited scale. The White Tower: The fourth unit focuses on the White Tower and includes photographs having as a theme either the monument itself or the surrounding area. Maybe the sequence of these photos facilitates our perception of why this specific tower gradually became the landmark of the city, through the changes in its surrounding area. The Aristotle University of Thessaloniki & The Thessaloniki International Fair: The fifth unit "narrates" the conversion of the cemetery – during the Turkish occupation – into a university campus and a trade fair site. The photographs of this unit are of special significance, since they present the way in which the usages of this site followed one another, how an "open" site escaped the risk of becoming a refugee camp and it was placed in the urban tissue. Monuments: The sixth unit includes some monuments of Thessaloniki, from several historical periods, as well as their surroundings. Sometimes, the changes in the surrounding areas are so intense that they actually distract the interest from the monuments themselves. The inner area: The seventh unit includes shots of other – inside
T H E S S A L O N I K I
13 k
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¿ÏÏ· ÛËÌ›· –ÂÛˆÙÂÚÈο- Ù˘ ÂÓÙfi˜ ÙˆÓ ÙÂȯÒÓ £ÂÛÛ·ÏÔӛ΢, Ô˘ ·Ô‰›‰Ô˘Ó ΢ڛˆ˜ ÙËÓ ÔÚ›· ·Ó·Û¯Â‰È·ÛÌÔ‡ Î·È ·ÓÔÈÎÔ‰fiÌËÛ‹˜ Ù˘ ÌÂÙ¿ ÙËÓ ˘ÚηÁÈ¿ ÙÔ˘ 1917. √È ÚÒÙ˜ ʈÙÔÁڷʛ˜ ·˘Ù‹˜ Ù˘ ÂÓfiÙËÙ·˜ ·Ú·‰›‰Ô˘Ó ‰Â›ÁÌ·Ù· ÏÈÏÈÔ‡ÙÂÈˆÓ Â·ÁÁÂÏÌ·ÙÈÎÒÓ ¯ÒÚˆÓ, Ô˘ ÌÂÚÈΤ˜ ÊÔÚ¤˜ ÙÔ ÂÌ‚·‰fiÓ ÙÔ˘˜ ‰ÂÓ ÍÂÂÚÓÔ‡Û ٷ ¤ÓÙ ÙÂÙÚ·ÁˆÓÈο ̤ÙÚ·, ·ÏÏ¿ ÔÈ È‰ÈÔÎً٘ ÙÔ˘˜ ‰ÂÓ ‹Ù·Ó ÏÈÁfiÙÂÚÔÈ ·fi ¤ÓÙÂ. ŒÚÁ·: Δ¤ÏÔ˜, Ë fiÁ‰ÔË ÂÓfiÙËÙ· ·ÊÔÚ¿ ÌÂÁ¿Ï· ‰ËÌfiÛÈ· ¤ÚÁ· Î·È È‰ÈˆÙÈΤ˜ ÂÂÓ‰˘ÙÈΤ˜ ÚˆÙÔ‚Ô˘Ï›Â˜ Ô˘ ÛËÌ¿‰Â„·Ó ÙË ˙ˆ‹ Ù˘ £ÂÛÛ·ÏÔӛ΢ ÛÙË ‰ÂηÂÙ›· ÙÔ˘ 1960 Î·È ¤ÂÈÙ·. ∂ȉÈο Ë Â¤Ó‰˘ÛË Ù˘ Esso Pappas ·ÔÙ¤ÏÂÛ ηٷχÙË ·Ó¿Ù˘Í˘ ÛÙËÓ Â˘Ú‡ÙÂÚË ÂÚÈÔ¯‹. √Û¿ÎȘ ÛÙËÓ ÚˆÙfiÙ˘Ë ÊˆÙÔÁÚ·Ê›· ÙÔ˘ ·Ú¯Â›Ô˘ ˘‹Ú¯Â Û¯ÔÏÈ·ÛÌfi˜, Ï‹ÊıËΠ˘fi„Ë ÛÙÔÓ ˘ÔÌÓËÌ·ÙÈÛÌfi Ù˘. Δ· Û¯fiÏÈ· ·˘Ù¿ ·Ô‰Â›¯ıËÎ·Ó ÛÙȘ ÂÚÈÛÛfiÙÂÚ˜ ÂÚÈÙÒÛÂȘ ÔχÙÈÌÔ˜ Ô‰ËÁfi˜ ÁÈ· ÙË ¯ÚÔÓÈ΋ Ù·‡ÙÈÛË ÙˆÓ ÙÂÎÌËÚ›ˆÓ. ™Â ÌÈ· ÁÂÓÈ΋ ·ÔÙ›ÌËÛË Ù˘ Û¯¤Û˘ ·Ó¿ÌÂÛ· ÛÙȘ ÂÓfiÙËÙ˜ Ô˘ ÚԷӷʤÚıËÎ·Ó Î·È ÙË ¯ÚÔÓÈ΋ ÎÏÈ̿ΈÛË ÙˆÓ ÊˆÙÔÁÚ·ÊÈÒÓ, ÛËÌÂÈÒÓÔ˘Ì fiÙÈ ÔÈ Ï‹„ÂȘ Ô˘ Û¯ÂÙ›˙ÔÓÙ·È Ì ÙË ‰È·ÌfiÚʈÛË Ù˘ «ÂÓ‰Ô¯ÒÚ·˜» Ù˘ fiÏ˘ Â›Ó·È Î·Ù¿ ̤ÛÔ fiÚÔ ·Ï·ÈfiÙÂÚ˜. ∞ÓÙ›ıÂÙ·, ÔÈ Ï‹„ÂȘ Ô˘ ·ÊÔÚÔ‡Ó ‰ËÌfiÛÈ· ¤ÚÁ· Î·È ÙÔ Û¯ËÌ·ÙÈÛÌfi Ù˘ ·ÓÂÈÛÙËÌÈÔ‡ÔÏ˘ (Ô˘ Î·È ·˘Ù‹ ·ÔÙ¤ÏÂÛÂ, ‚¤‚·È·, ¤Ó· ÌÂÁ¿ÏÔ ‰ËÌfiÛÈÔ ¤ÚÁÔ) ÂÈÎÂÓÙÚÒÓÔ˘Ó ÛÙË ‰ÂηÂÙ›· ÙÔ˘ 1960. Δ· ʈÙÔÁÚ·ÊÈο ÙÂÎÌ‹ÚÈ· ·fi ÙÔ ·Ú¯Â›Ô Ù˘ °ÂÓÈ΋˜ °Ú·ÌÌ·Ù›·˜ ∂ÈÎÔÈÓˆÓ›·˜ - °ÂÓÈ΋˜ °Ú·ÌÌ·Ù›·˜ ∂ÓË̤ڈÛ˘ ‚ÔËıÔ‡Ó Ó· ηٷÓÔ‹ÛÔ˘Ì ÙȘ ·ÏÏ·Á¤˜ ÛÙËÓ Ù·˘ÙfiÙËÙ· ÌÈ·˜ fiÏ˘. ∞Ó ‰Â¯Ùԇ̠fiÙÈ Ë ·ÏÏ·Á‹ ÛÙËÓ ·ÛÙÈ΋ Ù·˘ÙfiÙËÙ· ·ÔÙÂÏ› Û˘Ó¿ÚıÚˆÛË ÁˆÁÚ·ÊÈÎÒÓ ÌÂÙ·‚ÔÏÒÓ Î·È ÌÂÙ·‚ÔÏÒÓ Ù˘ ÓÔÔÙÚÔ›·˜, ÔÈ ÊˆÙÔÁڷʛ˜ Ì·˜ ı· ‰Â›ÍÔ˘Ó Î˘Ú›ˆ˜ ÙȘ ÚÒÙ˜. ™Â fi,ÙÈ ·ÊÔÚ¿ ÙȘ ÓÔÔÙÚԛ˜, Ô ·Ï·ÈfiÙÂÚÔ˜ ·Ó·ÁÓÒÛÙ˘ ‰È·ı¤ÙÂÈ ÚÔÛˆÈο ‚ÈÒÌ·Ù·. ¶Ú¤ÂÈ ·ÏÒ˜ Ó· ·ÔʇÁÂÈ ÙȘ ·Á›‰Â˜ Ù˘ ÓÔÛÙ·ÏÁ›·˜. √ ÓÂfiÙÂÚÔ˜
the walls – sites of Thessaloniki, which mainly represent the course of recasting and rebuilding after the great fire of 1917. The first photos of this unit represent tiny shops; the surface areas of these sites have rarely been more than five square meters, yet no less than five persons were their owners. Works: Finally, the eighth unit concerns big public works as well as private investments, which have marked the life of Thessaloniki since the 1960s and on. Especially, the investment of Esso Pappas has been a catalyst to the development of the greater area of the city. In the annotation of the photographs, under consideration were taken their original comments. The latter have often been proved a valuable guide in the time identification of the documents. On an attempt to generally assess the relation between the above mentioned units and the time scale of the photographs, it should be noted that the shots concerning the topology of the "inner" city are – on average – older. On the contrary, the shots concerning the public works and the landscaping of the university campus (which, of course, was also a significant public work as well) mainly focus in the 1960s. The photographic documents from the archive of the Secretariat General of Communication – Secretariat General of Information contribute help us understand the changing identity of the city. If we accept that the change of the urban identity is due to the combination of geographic changes as well as changes in attitude, these photographs will represent mainly the former. As far as attitudes are concerned, the elder readers have a personal experience. They just have to avoid the trap of nostalgia. The younger readers – through the micro-historic observations – will get an idea of the changes in attitudes and
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I N T R O D U C T I O N
·Ó·ÁÓÒÛÙ˘ ̤۷ ·fi ÙȘ ÌÈÎÚÔ˚ÛÙÔÚÈΤ˜ ·Ú·ÙËÚ‹ÛÂȘ ı· ˘Ô„È·ÛÙ› ÙȘ ÌÂÙ·‚ÔϤ˜ ÛÙȘ ÓÔÔÙÚԛ˜ Î·È ÙȘ Û˘ÌÂÚÈÊÔÚ¤˜. £· ‰ÂÈ ˆ˜ –fi¯È ÚÈÓ Ôχ ηÈÚfi- ˘‹Ú¯·Ó ‡η ¿Óˆ ÛÙËÓ ∂ÁÓ·Ù›· Î·È ÔÈ ¿ÓıÚˆÔÈ ÂÚ·ÙÔ‡Û·Ó ¯ˆÚ›˜ Ó· ÙÚ¤¯Ô˘Ó, ÌÈÏÒÓÙ·˜ Î·È ÎÔÈÙ¿˙ÔÓÙ·˜ Á‡Úˆ ÙÔ˘˜. £· ‰ÂÈ ‰ÚfiÌÔ˘˜ Ô˘ ı· ÙÔ˘˜ ·Ó·ÁÓˆÚ›ÛÂÈ, ·ÏÏ¿ ̤۷ ·fi ÌÈ· ·›ÛıËÛË –ۯ‰fiÓ ÔÓÂÈÚÈ΋. £· ‰ÂÈ ÛÙÔȯ›· ÁÓˆÛÙ¿ Î·È Ù·˘ÙÔ¯ÚfiÓˆ˜ ·Î·Ù·ÓfiËÙ·. À¿Ú¯ÂÈ ¤Ó· ÎÂÓfi ·Ó¿ÌÂÛ· ÛÙËÓ ÈÛÙÔÚÈÔÁÚ·Ê›· Î·È ÙËÓ ·›ÛıËÛË Ô˘ ·Ê‹ÓÔ˘Ó ÔÈ ÊˆÙÔÁڷʛ˜. °È· Ó· ηχ„ÂÈ ·˘Ùfi ÙÔ ÎÂÓfi, Ô ·Ó·ÁÓÒÛÙ˘ ‰ÂÓ ı· ¯ÚÂÈ·ÛÙ› ÌfiÓÔÓ ÙËÓ ·Ú·ÙËÚËÙÈÎfiÙËÙ¿ ÙÔ˘. £· Ú¤ÂÈ Ó· ÂÈÛÙÚ·Ù‡ÛÂÈ ÙË Ê·ÓÙ·Û›· ÙÔ˘. ∏ Ì·Á›· ÙˆÓ ÔÙÈÎÒÓ ÙÂÎÌËÚ›ˆÓ Â›Ó·È ·ÎÚÈ‚Ò˜ ·˘Ù‹: fi¯È ÌfiÓÔÓ ‰ÂÓ ÂÍÔ‚ÂÏ›˙Ô˘Ó ÙËÓ Ê·ÓÙ·Û›·, ·ÏÏ¿ ÙËÓ ÂÈ˙ËÙÔ‡Ó. ªÂÚÈΤ˜ ÊÔÚ¤˜, ÙËÓ ··ÈÙÔ‡Ó.
behaviours. They will see that – not long ago – there were pines on both sides of Egnatia Street and people were walking – not running – talking to each other and looking around them; they will see familiar streets, yet they will recognize them through an almost oneiric sense; they will see familiar – but at the same time unperceivable – features. There is a gap between historiography and the feeling created by the photographs. In order this gap to be bridged, the reader will need more than his/ her perceptiveness; imagination will also be necessary. This is exactly the charm of the visual documents: they actually need imagination – rather than eliminate it; sometimes they even demand it.
T H E S S A L O N I K I
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PHOTOMAPS
™ÙË Û‡Á¯ÚÔÓË ÂÚ›Ô‰Ô ÊˆÙÔÁÚ·ÊÈΤ˜ Ï‹„ÂȘ ·fi ·¤ÚÔ˜ Á›ÓÔÓÙ·È Û˘Ó‹ıˆ˜ ÁÈ· ÙËÓ ·Ó¿‰ÂÈÍË Î·È ÙËÓ ÚÔ‚ÔÏ‹ ÙÔ˘ ·ÂÈÎÔÓÈ˙fiÌÂÓÔ˘ ÙfiÔ˘. ¶·Ï·ÈfiÙÂÚ·, Ú·ÁÌ·ÙÔÔÈÔ‡ÓÙ·Ó ·ÔÎÏÂÈÛÙÈο ÁÈ· ÂÈÛÙËÌÔÓÈÎÔ‡˜ Î·È ÛÙÚ·ÙȈÙÈÎÔ‡˜ ÛÎÔÔ‡˜: ÁÈ· ÎÙËÌ·ÙÔÏfiÁÈ· (‡„Ô˜ ˆ˜ 1.000 ̤ÙÚ·), ÁÈ· ÙÔÔÁÚ·ÊÈο ‰È·ÁÚ¿ÌÌ·Ù· (‡„Ô˜ 2.000-4.000 ̤ÙÚ·) Î·È ÁÈ· ÙÔÔÁÚ·ÊÈÎÔ‡˜ ¯¿ÚÙ˜ (¿Óˆ ÙˆÓ 5.000 ̤ÙÚˆÓ). √È Ï‹„ÂȘ Â›Ó·È Â›Ù ηٷÎfiÚ˘Ê˜ ›Ù ÎÂÎÏÈ̤Ó˜ (˘fi ÁˆÓ›·), ÔfiÙ ·ÔηχÙÔ˘Ó Î·Ï‡ÙÂÚ· ÙË ÌÔÚÊÔÏÔÁ›· ÙÔ˘ ‰¿ÊÔ˘˜. √È ‰ËÌÔÛÈÂ˘Ì¤Ó˜ ÂÙ¿ ·ÂÚÔʈÙÔÁڷʛ˜ Ù˘ £ÂÛÛ·ÏÔӛ΢ ÂÓÙÔ›˙ÔÓÙ·È Î·Ù¿ ÚÔÛ¤ÁÁÈÛË ÛÙËÓ ÂÚ›Ô‰Ô 1947-1970, Ì ¤ÌÊ·ÛË Ù· ¯ÚfiÓÈ· Á‡Úˆ ÛÙ· 1960, fiÙ·Ó Ë fiÏË ÁÓÒÚÈÛ fi¯È ·ÏÒ˜ ÌÂÁ¿Ï˜, ·ÏÏ¿ Î·È Ù·¯‡Ù·Ù˜ ÌÂÙ·‚ÔϤ˜. °È· ÙËÓ ·ÎÚÈ‚‹ ¯ÚÔÓÔÏfiÁËÛË ÙˆÓ ÂÈÎfiÓˆÓ ÂÓÙÔ›˙Ô˘Ì ·ÏÏ·Á¤˜ Ô˘ ·ÊÔÚÔ‡Ó ÎÙ›ÚÈ·, Ó·Ô‡˜, ÏÈÌÂÓÈΤ˜, ÛȉËÚÔ‰ÚÔÌÈΤ˜ Î·È ·ÓÂÈÛÙËÌȷΤ˜ ÂÁηٷÛÙ¿ÛÂȘ. Nowadays, the photomaps are usually taken in order to represent and show the site depicted. Previously, they were taken exclusively for scientific and military purposes: for cadastres (up to 1.000 meters altitude), topographic plans (2.000 - 4.000 meters altitude) as well as for topographic maps (over 5.000 meters altitude). These shots are either vertical or oblique (inclination), in which case they reveal the land morphology even better. The seven photomaps of Thessaloniki that are included were taken during the period 1947 – 1970; with emphasis on the years around the 1960s, when the city underwent not only great, but fast changes as well. In order to exactly date the photographs, changes concerning buildings, temples, as well as the port, the railway and the university facilities are traced.
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1
Vue prise de l’air de la ville et de la plaine de Thessalonique
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Vue prise de l’air de la ville et de la plaine de Thessalonique
∞ÂÚÔʈÙÔÁÚ·Ê›· Ù˘ £ÂÛÛ·ÏÔӛ΢. ∏ Ï‹„Ë ¤ÁÈÓ ÙÔ 1951
™Ù· ·ÚÈÛÙÂÚ¿: Ô Î‡ÚÈÔ˜ fiÁÎÔ˜ Ù˘ ·Ï·È¿˜ fiÏ˘. ΔÔ ·Ú·ı·Ï¿ÛÛÈÔ ÙÌ‹Ì· Ù˘ Â›Ó·È ÎÙÈṲ̂ÓÔ Ì ÙÔ Ó¤Ô ÔÏÂÔ‰ÔÌÈÎfi Û¯¤‰ÈÔ. ™Ù· ‰ÂÍÈ¿: Ë Û¯Â‰fiÓ ·‰fiÌËÙË ÂÚÈÔ¯‹ Ô˘ ÌÂÛÔÏ·‚Ô‡Û ÌÂٷ͇ Ù˘ ·Ï·È¿˜ fiÏ˘ Î·È ÙˆÓ ·Ó·ÙÔÏÈÎÒÓ Û˘ÓÔÈÎÈÒÓ. ™ÙÔ Î¤ÓÙÚÔ Ù˘ ·Ï·È¿˜ fiÏ˘, Ë Ï·Ù›· ∞ÚÈÛÙÔÙ¤ÏÔ˘˜ (ÚÔ˜ ÙÔ ·ÚÈÛÙÂÚfi ÙÌ‹Ì· Ù˘ ÂÈÎfiÓ·˜) ¤¯ÂÈ ·ÎfiÌË ÎÂÓ¿ ÔÈÎfi‰· (fiÔ˘ ÏÂÈÙÔ˘ÚÁÔ‡Ó ıÂÚÈÓÔ› ÎÈÓËÌ·ÙÔÁÚ¿ÊÔÈ). μÔÚÂÈfiÙÂÚ·, Ë Ï·Ù›· Ù˘ ∞Ú¯·›·˜ ∞ÁÔÚ¿˜ ·Ú·Ì¤ÓÂÈ ÎÂÓ‹ Î·È ·‰È·ÚÚ‡ıÌÈÛÙË. ∫ÂÓ‹, ›Û˘, ÛÙÔ ‡„Ô˜ Ù˘ ÚÔ‚Ï‹Ù·˜ ÙÔ˘ ÏÈÌ·ÓÈÔ‡, Ê·›ÓÂÙ·È Ë Ï·Ù›· ∂Ï¢ıÂÚ›·˜. ¶ÚÔ˜ Ù· ‰ÂÍÈ¿ ‰È·ÎÚ›ÓÔÓÙ·È ÌfiÓÔ Ù· ÙÚ›· ·ÚÈ· ÎÙ›ÚÈ· Ù˘ ¢ÈÂıÓÔ‡˜ ŒÎıÂÛ˘ Î·È ÙÔ ÓÔÛÔÎÔÌÂ›Ô ∞Ã∂¶∞ (Û˘Ó‰˘·ÛÌfi˜ Ô˘ ÂÈÙÚ¤ÂÈ ÙË ¯ÚÔÓÔÏfiÁËÛË). ¡fiÙÈ· ·fi ÙË ¢ÈÂıÓ‹ ŒÎıÂÛË (‰ÂÍÈ¿ ·fi ÙÔ §Â˘Îfi ¶‡ÚÁÔ) ÚÔ‚¿ÏÂÈ ÙÔ μ·ÛÈÏÈÎfi £¤·ÙÚÔ.
Photomap of Thessaloniki. The shot was taken in 1951
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.
H ·Ú›ıÌËÛË Ì ÌÂÁ¿Ï· ÛÙÔȯ›· ÛÙËÓ ÎÔÚ˘Ê‹ Ù˘ ÛÂÏ›‰·˜ ·ÓÙÈÛÙÔȯ› ÛÙÔÓ ·‡ÍÔÓÙ· ·ÚÈıÌfi οı ʈÙÔÁÚ·Ê›·˜ Ù˘ ·ÚÔ‡Û·˜ ¤Î‰ÔÛ˘. ΔÔ Î›ÌÂÓÔ ¿Óˆ ·fi ÙÔÓ Ù›ÙÏÔ Î¿ı ʈÙÔÁÚ·Ê›·˜ Â›Ó·È Ô ·Ú¯ÈÎfi˜ ˘ÔÌÓËÌ·ÙÈÛÌfi˜ Ô˘ ˘‹Ú¯Â ÛÙÔ ºˆÙÔÁÚ·ÊÈÎfi ∞Ú¯Â›Ô Ù˘ °ÂÓÈ΋˜ °Ú·ÌÌ·Ù›·˜ ∂ÈÎÔÈÓˆÓ›·˜-°ÂÓÈ΋˜ °Ú·ÌÌ·Ù›·˜ ∂ÓË̤ڈÛ˘.
Δhe pagination by large type at the top of each page corresponds to the numbering of each photo in this publication. The text above the title of each photo is the original caption as it appeared in the Photography Archives of the Secretariat General of Communication and the Secretariat General of Information.
k 18
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏
P H O T O M A P S
1
T H E S S A L O N I K I
19 k
2
∞ ∂ ƒ √ º ø Δ √ ° ƒ ∞ º π ∂ ™
View of the town of Salonica and its plain
View of the town of Salonica and its plain
∞ÂÚÔʈÙÔÁÚ·Ê›· Ù˘ ∞Ó·ÙÔÏÈ΋˜ £ÂÛÛ·ÏÔӛ΢, ÚÈÓ ·fi ÙÔ 1950
™Â ÚÒÙÔ Ï¿ÓÔ, ‰ÂÍÈ¿, Ë ¶˘Ï·›·. ¶›Ûˆ Ù˘ Ë Δԇ̷, ·ÚÈÛÙÂÚ¿ Ô Û˘ÓÔÈÎÈÛÌfi˜ ÷ÚÈÏ¿Ô˘. ¶ÈÔ ·ÚÈÛÙÂÚ¿, ηٿ Ì‹ÎÔ˜ Ù˘ ·ÎÙ‹˜, ÔÈ Û˘ÓÔÈ˘ ·fi ÙÔ º¿ÏËÚÔ Ì¤¯ÚÈ ÙÔ μ˘˙¿ÓÙÈÔ. ∏ ¯ÚÔÓÔÏfiÁËÛË Û˘Ó¿ÁÂÙ·È ·fi ÙÔ Û¯‹Ì· ÙÔ˘ Î˘Ì·ÙÔıÚ·‡ÛÙË. ™Ù· Ù¤ÏË ÙÔ˘ 1950 ›¯Â ·ÔηٷÛÙ·ı› Ô ·Ï·Èfi˜ Î˘Ì·ÙÔıÚ·‡ÛÙ˘ (Ì‹ÎÔ˘˜ 550 ̤ÙÚˆÓ) Î·È Â›¯Â ÚÔÛÙÂı› Ó¤Ô ÙÌ‹Ì· (650 ̤ÙÚˆÓ) Û ÁˆÓ›· 120 ÌÔÈÚÒÓ ÂÚ›Ô˘. ÕÚ· Ë Ï‹„Ë ¤ÁÈÓ ÚÔ ÙÔ˘ 1950.
A photomap of the eastern Thessaloniki, before 1950
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.
k 20
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏
P H O T O M A P S
2
T H E S S A L O N I K I
21 k
3
∞ ∂ ƒ √ º ø Δ √ ° ƒ ∞ º π ∂ ™
¶ÚÔÛÊ˘ÁÈΤ˜ ηÙÔÈ˘, 17.1.62 / 9.4.62
Refugees’ dwellings, 17.1.62 / 9.4.62
∞ÂÚÔʈÙÔÁÚ·Ê›· ÙÔ˘ ÚÔÛÊ˘ÁÈÎÔ‡ Û˘ÓÔÈÎÈÛÌÔ‡ Ù˘ ∫¿Ùˆ Δԇ̷˜, 1962
™ÙÔ Î¤ÓÙÚÔ Ô Ó·fi˜ ÙÔ˘ ∞Á›Ô˘ £ÂÚ¿ÔÓÙÔ˜ Î·È ÙÔ ‰ËÌÔÙÈÎfi Û¯ÔÏ›Ô. ∏ ÔÈÎÔ‰fiÌËÛË ÙÔ˘ Ó·Ô‡ Û˘Ó¯È˙fiÙ·Ó ÛÙË ‰ÂηÂÙ›· ÙÔ˘ 1950. ∏ ¯ÚÔÓÔÏÔÁ›· 1962 ÂȂ‚·ÈÒÓÂÙ·È ÂÌ̤ۈ˜ ·fi ÙÔ ÁÂÁÔÓfi˜ fiÙÈ Ô Ó·fi˜ Ê·›ÓÂÙ·È Ó· ¤¯ÂÈ ÂÚ·Ùˆı›.
A photomap of the refugees’ settlement at Kato Toumpa, 1962
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.
k 22
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏
P H O T O M A P S
3
T H E S S A L O N I K I
23 k
4
∞ ∂ ƒ √ º ø Δ √ ° ƒ ∞ º π ∂ ™
ÕÙÈÙÏË
Without Title
∞ÂÚÔʈÙÔÁÚ·Ê›· ÙÔ˘ ™È‰ËÚÔ‰ÚÔÌÈÎÔ‡ ™Ù·ıÌÔ‡ £ÂÛÛ·ÏÔӛ΢ Î·È Ù˘ ÂÚÈÔ¯‹˜ ÙÔ˘, 1962
∏ ηٷÛ΢‹ ÙÔ˘ ÛÙ·ıÌÔ‡ ÍÂΛÓËÛ ÙÔ 1939, ‰È·ÎfiËΠÏfiÁˆ ÙÔ˘ ÔϤÌÔ˘ Î·È Í·Ó¿Ú¯ÈÛ ÙÔ 1949. ΔÔ 1951, ËÌÈÙÂÏ‹˜ ·ÎfiÌË, Ô ÛÙ·ıÌfi˜ ¿Ú¯ÈÛ ӷ ÏÂÈÙÔ˘ÚÁ›. √È ÂÚÁ·Û›Â˜ Û˘Ó¯›ÛÙËÎ·Ó Î·È ÂÁηÈÓÈ¿ÛÙËΠÂÈۋ̈˜ ÛÙȘ 4.2.1962. ™ÙËÓ Ï·Ù›· ÌÚÔÛÙ¿ ÛÙÔ ÛÙ·ıÌfi ‰È·ÎÚ›ÓÂÙ·È ·ÛÙÈÎfi ψÊÔÚ›Ô. ¢ÂÍÈ¿, Ô ÏÔÍfi˜ ‰ÚfiÌÔ˜ Â›Ó·È Ë Ô‰fi˜ ∞Ó·ÁÂÓÓ‹Ûˆ˜, Ë ÔÔ›· ‰ÂÓ ¤¯ÂÈ ÛȉËÚÔ‰ÚÔÌÈΤ˜ ÁÚ·Ì̤˜, ¿Ú· Ë Ï‹„Ë ¤ÁÈÓ ÌÂÙ¿ ÙÔ 1956. ∏ Ô‰fi˜ ªÔÓ·ÛÙËÚ›Ô˘ ‰ÂÓ ¤¯ÂÈ ‰È·Ï·Ù˘Óı›, ¿Ú· ›̷ÛÙ ÚÈÓ ·fi ÙÔ 1965. ∂›Û˘, ÔÈ ÎÙËÓÈ·ÙÚÈΤ˜ ÎÏÈÓÈΤ˜ (¿ÎÚÔ ‰ÂÍÈ¿) ÂÈÎÔÓ›˙ÔÓÙ·È Û ηٿÛÙ·ÛË Ô˘ Ì·˜ Ô‰ËÁ› ¯ÚÔÓÔÏÔÁÈο ÚÈÓ ·fi ÙÔ 1964. ªÂ ‚¿ÛË ·˘Ù¿ Ù· ‰Â‰Ô̤ӷ Î·È ÙËÓ ÔÌÔÈfiÙËÙ· ÛÙÔ ‡„Ô˜ Ì ÙËÓ ·ÂÚÔʈÙÔÁÚ·Ê›· Ù˘ Δԇ̷˜, Ë Ï‹„Ë Ú¤ÂÈ Ó· ¤ÁÈÓ ÙÔ 1962.
A photomap of the Railway Station of Thessaloniki and the surrounding area, 1962
The construction of the railway station started in 1939; it 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.
k 24
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P H O T O M A P S
4
T H E S S A L O N I K I
25 k
5
∞ ∂ ƒ √ º ø Δ √ ° ƒ ∞ º π ∂ ™
°ÂÓÈ΋ ¿Ô„Ë ÙÔ˘ ÏÈÌ·ÓÈÔ‡ ʈÙÔÁÚ·ÊË̤ÓË ·fi ·ÂÚÔÏ¿ÓÔ, 1959
An overall view of the port taken from an airplane, 1959
∞ÂÚÔʈÙÔÁÚ·Ê›· ÙÔ˘ ÂÌÔÚÈÎÔ‡ ΤÓÙÚÔ˘ Ù˘ £ÂÛÛ·ÏÔӛ΢ (·fi ÙËÓ Ô‰fi ∫ÔÌÓËÓÒÓ Ì¤¯ÚÈ ÙË ÛËÌÂÚÈÓ‹ Ô‰fi ™·Ï·Ì›ÓÔ˜), 1959
∏ ¯ÚÔÓÔÏfiÁËÛË Û˘ÌʈÓ› Ì ÙÔ ÂÚȯfiÌÂÓfi Ù˘ ʈÙÔÁÚ·Ê›·˜. ™ÙÔ Î¤ÓÙÚÔ ÙÔ ÎÙ›ÚÈÔ ÙˆÓ ÙÚ·Â˙ÒÓ ∂ıÓÈ΋˜ Î·È ∂ÏÏ¿‰Ô˜ (Ì ٷ ‰‡Ô ıÔψٿ ÎÙ›ÛÌ·Ù· ÛÙËÓ ÛÙ¤ÁË). ™Ù· ·ÚÈÛÙÂÚ¿ ÙÔ˘ Ù· ÎÙ›ÚÈ· ÙˆÓ ÚÒËÓ ÙÚ·Â˙ÒÓ ∞ıËÓÒÓ Î·È μÈÔÌ˯·Ó›·˜ (Ì ÙËÓ Î·ı’ ‡„Ô˜ ¤ÎÙ·ÛË). ŒÂÙ·È ÙÔ Ì¤Á·ÚÔ ∫fiÊÊ·. ™ÙÔ ·ÚÈÛÙÂÚfi οو ¿ÎÚÔ Ù˘ ʈÙÔÁÚ·Ê›·˜ ‰È·ÎÚ›ÓÂÙ·È Ë ÛÙ¤ÁË ÙÔ˘ ÌÂÁ¿ÚÔ˘ «μÈÎÙfiÚÈ·» Î·È ÛÙ· ‰ÂÍÈ¿ ÙÔ˘ ÙÔ Ì¤Á·ÚÔ ¢ÚfiÛÔ˘ (∞ÊÔ› §·ÌÚfiÔ˘ÏÔÈ, ÛÙÔ ‡„Ô˜ Ù˘ Ô‰Ô‡ ∫ÔÌÓËÓÒÓ). Δ· ÎÙ›ÚÈ· ·˘Ù¿ ÔÚ›˙Ô˘Ó ÙËÓ ÔÚ›· Ù˘ Ô‰Ô‡ ΔÛÈÌÈÛ΋, Ë ÔÔ›· ÛÙ·Ì·Ù¿ ÛÙÔ ‡„Ô˜ Ù˘ Ô‰Ô‡ ∫·ÙÔ‡ÓË (‰ÂÓ ¤¯ÂÈ ‰ËÌÈÔ˘ÚÁËı› ·ÎfiÌË Ë ÌÂÙ¤ÂÈÙ· Ô‰fi˜ ¶ÔÏ˘Ù¯Ó›Ԣ). ™ÙÔ ·ÚÈÛÙÂÚfi ̤ÛÔ Ù˘ ʈÙÔÁÚ·Ê›·˜ Ë ÚÒÙË ÚÔ‚Ï‹Ù· ÙÔ˘ ÏÈÌ·ÓÈÔ‡ Î·È ÛÙÔ Ï¿È Î·È ‰ÂÍÈ¿ Ù˘ Ë Ï·Ù›· ∂Ï¢ıÂÚ›·˜, Ì ϛÁ· ÛÙ·ıÌÂ˘Ì¤Ó· ·˘ÙÔΛÓËÙ·. ™ÙÔ Ì¤ÛÔ Ù˘ ÂÈÎfiÓ·˜ ÙÔ ÙÂψÓÂ›Ô ÙÔ˘ 1910 (Ó˘Ó ÂÈ‚·ÙÈÎfi˜ ÂÌÔÚÂ˘Ì·ÙÈÎfi˜ ÛÙ·ıÌfi˜). ¢È·ÎÚ›ÓÔÓÙ·È Â›Û˘ Ë ‰Â‡ÙÂÚË Î·È Ë ÙÚ›ÙË ÚÔ‚Ï‹Ù· (§·ÓÁηۿÈÚ). ™ÙÔ ‰ÂÍÈfi οو ̤ÚÔ˜ Ë ·Ó·ÙÔÏÈ΋ fi„Ë ÙÔ˘ ∞Á›Ô˘ ªËÓ¿.
A photomap of the central market of Thessaloniki (from Komninon Street to the contemporary Salaminos Street), 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.
k 26
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏
P H O T O M A P S
5
T H E S S A L O N I K I
27 k
6
∞ ∂ ƒ √ º ø Δ √ ° ƒ ∞ º π ∂ ™
§ÈÌ¿ÓÈ 24.12.1970
The port 24.12.1970
∞ÂÚÔʈÙÔÁÚ·Ê›· ÙÔ˘ ÂÌÔÚÈÎÔ‡ ΤÓÙÚÔ˘ Ù˘ £ÂÛÛ·ÏÔӛ΢ (·fi ÙËÓ Ô‰fi ∞ÚÈÛÙÔÙ¤ÏÔ˘˜ ̤¯ÚÈ ÙËÓ Ù¤Ù·ÚÙË ÏÈÌÂÓÈ΋ ÚÔ‚Ï‹Ù·) 1970
∏ ¯ÚÔÓÔÏfiÁËÛË Û˘ÌʈÓ› Ì ÙÔ ÂÚȯfiÌÂÓÔ Ù˘ ʈÙÔÁÚ·Ê›·˜. ™ÙÔ ÏÈÌ¿ÓÈ ¤¯ÂÈ ‰ËÌÈÔ˘ÚÁËı› Î·È Ë Ù¤Ù·ÚÙË ÚÔ‚Ï‹Ù· (Ì ÙÔ ÛÈÏfi: ÛÙÔ ¿Óˆ ÎÂÓÙÚÈÎfi ÙÌ‹Ì· Ù˘ ÂÈÎfiÓ·˜) Î·È ¤¯ÂÈ ·Ú¯›ÛÂÈ Ë Î·Ù·Û΢‹ Ù˘ ¤ÌÙ˘. ™Â ÚÒÙÔ Ï¿ÓÔ Ë Ô‰fi˜ ∞ÚÈÛÙÔÙ¤ÏÔ˘˜ (·ÚÈÛÙÂÚ¿ Ë Ù·˘ÙÒÓ˘ÌË Ï·Ù›· Ì ÙÔÓ ıÂÚÈÓfi ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ «∏χÛÈ·»). ΔÔ ÌÂÛ·›Ô ÙÌ‹Ì· Ù˘ ʈÙÔÁÚ·Ê›·˜ Â›Ó·È Û˘ÁÎÚ›ÛÈÌÔ Ì ÙÔ ÌÂÛ·›Ô ÙÌ‹Ì· Ù˘ ÚÔËÁÔ‡ÌÂÓ˘: Δ· ÂÚÈÛÛfiÙÂÚ· ÎÙ›ÚÈ· ¤¯Ô˘Ó ηÙ‰·ÊÈÛÙ› Î·È ·ÓÔÈÎÔ‰ÔÌËı› ‹ ÂÂÎÙ¿ıËÎ·Ó Î·ı’ ‡„Ô˜.
A photomap of the central market of Thessaloniki (from Aristotelous Street to the fourth wharf) 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.
k 28
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏
P H O T O M A P S
6
T H E S S A L O N I K I
29 k
7
∞ ∂ ƒ √ º ø Δ √ ° ƒ ∞ º π ∂ ™
ÕÙÈÙÏË
Without Title
∞ÂÚÔʈÙÔÁÚ·Ê›· Ù˘ ·ÓÂÈÛÙËÌÈÔ‡ÔÏ˘ Î·È Ù˘ ¢∂£, 1970
∏ Ï‹„Ë Î·Ï‡ÙÂÈ ÙÔ ¯ÒÚÔ ·fi ÙËÓ Ô‰fi ∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘ (οو) ̤¯ÚÈ ÙËÓ ·ÎÙ‹. ™ÙÔ Î¤ÓÙÚÔ Ù˘ ÂÈÎfiÓ·˜ ‰ÂÛfi˙Ô˘Ó Ù· ÎÙ›ÚÈ· ÙˆÓ Û¯ÔÏÒÓ Ô˘ Û¯ËÌ·Ù›˙Ô˘Ó ÙÂÙÚ¿ÁˆÓÔ (Û ·Ú¤ÓıÂÛË ÙÔ ¤ÙÔ˜ ÏÂÈÙÔ˘ÚÁ›·˜): ¡√∂ (1967 ÙÔ ‰ÂÍÈfi ÙÌ‹Ì·, 1972 ÙÔ Û‡ÓÔÏÔ), ºÈÏÔÛÔÊÈ΋˜ (1973), £ÂÔÏÔÁÈ΋˜ (1971) Î·È ÙÔ ÎÙ›ÚÈÔ ¢ÈÔÈ΋Ûˆ˜ (1969). ™Ù· ·ÚÈÛÙÂÚ¿ Ë ÎÂÓÙÚÈ΋ ·ÓÂÈÛÙËÌȷ΋ ‚È‚ÏÈÔı‹ÎË (1974). ™ÙÔ Ì¤ÛÔ Ù˘ ÂÈÎfiÓ·˜ ‰È·ÎÚ›ÓÂÙ·È ÙÔ ÁÏ˘Ùfi ÙÔ˘ °. ∑ÔÁÁÔÏfiÔ˘ÏÔ˘, ÛÙËÓ ‡ÏË Ù˘ ¢∂£ Ù˘ Ï·Ù›·˜ ™ÈÓÙÚÈ‚·Ó›Ô˘ (ÙÔÔıÂÙ‹ıËΠÙÔ 1966). ∂›Û˘, ¤¯ÂÈ ÔÏÔÎÏËÚˆı› Ë Â¤ÎÙ·ÛË ÙˆÓ ¯ÒÚˆÓ Ù˘ ¢∂£ ÚÔ˜ ÙËÓ ∂ÁÓ·Ù›·, fiˆ˜ Î·È Ë Â¤ÎÙ·ÛË ÙˆÓ ÁÚ·Ê›ˆÓ ‰ÈÔÈ΋Ûˆ˜ (1969).
A photomap of the university campus and the Thessaloniki International Fair, 1970
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).
k 30
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏
P H O T O M A P S
7
T H E S S A L O N I K I
31 k
Δ√
§πª∞¡π
PORT
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.
ΔHE
ΔÔ ÏÈÌ¿ÓÈ Ù˘ £ÂÛÛ·ÏÔӛ΢ ·ÔÙÂÏ› ÙÔ ÙÌ‹Ì· Ù˘ fiÏ˘ Ì ÙË ÌÂÁ·Ï‡ÙÂÚË ‰È·¯ÚÔÓÈ΋ Û˘¯ÓfiÙËÙ· ÂÈηÛÙÈ΋˜ Î·È ÂȉÈÎÒ˜ ʈÙÔÁÚ·ÊÈ΋˜ ·ÂÈÎfiÓÈÛ˘. ∏ ˘„ËÏ‹ Û˘¯ÓfiÙËÙ· ÂÚÌËÓ‡ÂÙ·È ·ÊÂÓfi˜ ·fi ÙË Û·ÁËÓ¢ÙÈ΋ ·›ÛıËÛË Ô˘ ‰ËÌÈÔ˘ÚÁÔ‡ÛÂ Ë fiÏË ÛÙÔÓ ÂÈÛΤÙË -fiÙ·Ó ¤ÊÙ·Ó ·fi ÙË ı¿Ï·ÛÛ·- ·ÊÂÙ¤ÚÔ˘ ·fi ÙȘ ÌÂÁ¿Ï˜ ÌÂÙ·ÌÔÚÊÒÛÂȘ Ô˘ ÁÓÒÚÈÛ ÙÔ ›‰ÈÔ ÙÔ ÏÈÌ¿ÓÈ Î·Ù¿ ÙËÓ ÂÚ›Ô‰Ô ·fi ÙÔ 1870 ̤¯ÚÈ Î·È ÙȘ ̤Ú˜ Ì·˜. ∏ ·ÏÏËÏÔ˘¯›· Ù¯ÓÈÎÒÓ ¤ÚÁˆÓ ÚÔÛ‰›‰ÂÈ ÛÙȘ ÏÈÌÂÓÈΤ˜ ÂÁηٷÛÙ¿ÛÂȘ ·˘ÙÔÙÂϤ˜ ʈÙÔÁÚ·ÊÈÎfi ÂӉȷʤÚÔÓ. ¶ÚÈÓ ·fi ÙÔ 1870 ÙÔ ÏÈÌ¿ÓÈ ‹Ù·Ó Ê˘ÛÈÎfi. ™ÙȘ ˘ÔÙ˘Ò‰ÂȘ ÂÁηٷÛÙ¿ÛÂȘ Ô˘ ÔÈÎÔ‰ÔÌ‹ıËÎ·Ó ÙÔ 1870, ÚÔÛÙ¤ıËÎ·Ó ÙÔ 1900 ‰‡Ô ÚÔ‚Ï‹Ù˜ Î·È ÙÔ ÎÂÓÙÚÈÎfi ÎÚË›‰ˆÌ· - Ì ¤ÌÏËÛË Ù˘ ı¿Ï·ÛÛ·˜Î·ıÒ˜ Î·È ¿ÏϘ ÂÁηٷÛÙ¿ÛÂȘ ̤¯ÚÈ ÙÔ 1910. ΔÔ 1944 ·Ô¯ˆÚÒÓÙ·˜ Ù· Ó·˙ÈÛÙÈο ÛÙÚ·Ù‡̷ٷ ·Ó·Ù›Ó·Í·Ó Ù· ÎÙ›ÚÈ· Î·È ˘ÔÓfiÌÂ˘Û·Ó ÙÔÓ ˘ı̤ӷ. ø˜ ÙÔ 1950 Ú·ÁÌ·ÙÔÔÈ‹ıËÎ·Ó ÔÈ Î˘ÚÈfiÙÂÚ˜ ÂÈÛ΢¤˜ Î·È ÛÙË Û˘Ó¤¯ÂÈ· ÍÂΛÓËÛÂ Ë Ï‹Ú˘ ·ÔηٿÛÙ·ÛË Î·È Â¤ÎÙ·ÛË ÙÔ˘ ÏÈÌ·ÓÈÔ‡. √È ÂÈÏÂÁ̤Ó˜ Û˘Ó·Ê›˜ ·ÂÈÎÔÓ›ÛÂȘ ·fi ÙË Û˘ÏÏÔÁ‹ Ù˘ °ÂÓÈ΋˜ °Ú·ÌÌ·Ù›·˜ ∂ÈÎÔÈÓˆÓ›·˜ - °ÂÓÈ΋˜ °Ú·ÌÌ·Ù›·˜ ∂ÓË̤ڈÛ˘ ÍÂÎÈÓÔ‡Ó ·fi ÙÔÓ ÚÒÙÔ ·ÁÎfiÛÌÈÔ fiÏÂÌÔ Î·È ÊÙ¿ÓÔ˘Ó ˆ˜ ÙÔ 1970. √È ·Ï·ÈfiÙÂÚ˜ Ï‹„ÂȘ ÚÔÛı¤ÙÔ˘Ó ÛÙÔÓ ÙÔ̤· Ù˘ ÈÛÙÔÚ›·˜ ÌÈÎÚ‹˜ Îϛ̷η˜, ÂÓÒ ÔÈ ÌÂÙ·ÁÂÓ¤ÛÙÂÚ˜ ·ÚÔ˘ÛÈ¿˙Ô˘Ó ÈÛ¯˘ÚfiÙÂÚÔ ÂӉȷʤÚÔÓ ˆ˜ ÚÔ˜ ÙË ‰Ú·ÛÙËÚÈfiÙËÙ· ÁÈ· ÙËÓ Â¤ÎÙ·ÛË Î·È Û˘ÌÏ‹ÚˆÛË ÙˆÓ ÏÈÌÂÓÈÎÒÓ ÂÁηٷÛÙ¿ÛˆÓ.
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ÕÙÈÙÏË
Without Title
°·ÏÏÈο ÏÔ›· ÛÙÔ ÏÈÌ¿ÓÈ Ù˘ £ÂÛÛ·ÏÔӛ΢, 1915
™ÙȘ 23 ™ÂÙÂÌ‚Ú›Ô˘ 1915 ·fi Ù· Á·ÏÏÈο Î·È ·ÁÁÏÈο ÔÏÂÌÈο ÏÔ›·, Ô˘ ›¯·Ó ·Ú¯›ÛÂÈ Ó· Û˘ÁÎÂÓÙÚÒÓÔÓÙ·È ÛÙÔ ÏÈÌ¿ÓÈ ·fi ÙȘ 17 ÙÔ˘ ›‰ÈÔ˘ Ì‹Ó·, ¿Ú¯ÈÛ·Ó Ó· ·Ô‚È‚¿˙ÔÓÙ·È ÛÙÚ·ÙÈÒÙ˜. ™ÎÔfi˜ Ù˘ ·Ô‚›‚·Û˘ Î·È Ù˘ Û˘ÁΤÓÙÚˆÛ‹˜ ÙÔ˘˜ ÛÙË £ÂÛÛ·ÏÔÓ›ÎË ‹Ù·Ó Ó· ÏÂÈÙÔ˘ÚÁ‹ÛÔ˘Ó ·ÔÙÚÂÙÈο ÁÈ· ÂӉ¯fiÌÂÓË Â›ıÂÛË Ù˘ μÔ˘ÏÁ·Ú›·˜ ηٿ Ù˘ ™ÂÚ‚›·˜. ΔÔ ›‰ÈÔ ·fiÁÂ˘Ì· ›¯Â ÛËÌÂȈı› Ì›· ·ÎfiÌË Û‡ÁÎÚÔ˘ÛË ÌÂٷ͇ ∫ˆÓÛÙ·ÓÙ›ÓÔ˘ ∞ã Î·È ∂Ï¢ıÂÚ›Ô˘ μÂÓÈ˙¤ÏÔ˘ Î·È Ô ÙÂÏÂ˘Ù·›Ô˜ ›¯Â ·Ú·ÈÙËı›.
French ships in the port of Thessaloniki, 1915
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.
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Without Title
∞fi‚·ÛË Á·ÏÏÈÎÔ‡ ÈÈÎÔ‡ ÛÙÔ ÏÈÌ¿ÓÈ Ù˘ £ÂÛÛ·ÏÔӛ΢, Ì¿ÏÏÔÓ ÛÙË ‰Â‡ÙÂÚË ÚÔ‚Ï‹Ù· (™Â٤̂ÚÈÔ˜ ‹ √ÎÙÒ‚ÚÈÔ˜ 1915)
Δ· Û˘ÌÌ·¯Èο ÛÙÚ·Ù‡̷ٷ ·Ú¤ÌÂÈÓ·Ó ÛÙË £ÂÛÛ·ÏÔÓ›ÎË Ì¤¯ÚÈ ÙË Ï‹ÍË ÙÔ˘ ÚÒÙÔ˘ ·ÁÎÔÛÌ›Ô˘ ÔϤÌÔ˘. √ Û˘ÓÔÏÈÎfi˜ ·ÚÈıÌfi˜ ÙÔ˘˜ ‰ÂÓ ¤¯ÂÈ ‰È·ÈÛÙˆı› ·Ú¿ ÌfiÓÔÓ Î·Ù¿ ÚÔÛ¤ÁÁÈÛË, ‹Ù·Ó fï˜ ·ÈÛıËÙ¿ ÌÂÁ·Ï‡ÙÂÚÔ˜ ·fi ÙÔ ÌfiÓÈÌÔ ÏËı˘ÛÌfi Ù˘ fiÏ˘. ∏ ·ÚÔ˘Û›· ÙÔ˘˜ Û˘Ó‰¤ıËΠ̠ÏÔ˘ÙÈÛÌfi ÁÈ· ÔÚÈṲ̂ÓÔ˘˜ ÂÌfiÚÔ˘˜ ·ÏÏ¿ Î·È Ì ÛÙÂÓfiÙËÙ· ÙÚÔÊ›ÌˆÓ ÁÈ· ÙËÓ ÏÂÈÔÓfiÙËÙ· ÙÔ˘ ÏËı˘ÛÌÔ‡. Ÿ¯È ÌfiÓÔ Ù· ‚·ÛÈο ÙÚfiÊÈÌ· ‰›ÓÔÓÙ·Ó Ì ‰ÂÏÙ›Ô, ·ÏÏ¿ ÙÔ 1917 ÌfiÓÔÓ Û ÈÛÙÔÔÈË̤ÓÔ˘˜ ·ÛıÂÓ›˜ ·Ú¤¯ÔÓÙ·Ó Ì·Î·ÚfiÓÈ·.
Disembarking of the French cavalry at the port of Thessaloniki, by all probability on the second wharf (September or October 1915)
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.
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∏ Û˘ÌÌ·¯È΋ ¤‰Ú· ÛÙËÓ Ô‰fi ™·Ï·Ì›ÓÔ˜, 1915
°¿ÏÏÔÈ ÛÙÚ·ÙÈÒÙ˜ ÌÚÔÛÙ¿ ÛÙÔ ÎÙ›ÚÈÔ Ù˘ Û˘ÌÌ·¯È΋˜ ÛÙÚ·ÙȈÙÈ΋˜ ‰ÈÔ›ÎËÛ˘, ÛÙËÓ Ô‰fi ™·Ï·Ì›ÓÔ˜. ∏ ÛÎËÓ‹ ‹Ù·Ó Û˘Ó‹ı˘ ÛÙ· Ù¤ÏË ÙÔ˘ 1915 Î·È ÙÔ 1916. ∏ Ô‰fi˜ ™·Ï·Ì›ÓÔ˜, Ô˘ ÛÙÔ Û˘ÁÎÂÎÚÈ̤ÓÔ ÙÌ‹Ì· ›¯Â ‰È·Ï·Ù˘Óı›, Ô‰ËÁÔ‡Û ÛÙÔ ÎÙ›ÚÈÔ ÙÔ˘ ÙÂψÓ›Ԣ, Ô˘ ÛÙȘ ̤Ú˜ Ì·˜ ÏÂÈÙÔ˘ÚÁ› ˆ˜ ÂÈ‚·ÙÈÎfi˜ ÛÙ·ıÌfi˜.
The headquarters of the allies at Salaminos Street, 1915
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.
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√‰fi˜ ™·Ï·Ì›ÓÔ˜
Salaminos Street
√‰fi˜ ™·Ï·Ì›ÓÔ˜, 1915
∏ ›‰È· ÂÚÈÔ¯‹ Ì ÙËÓ ÚÔËÁÔ‡ÌÂÓË ÊˆÙÔÁÚ·Ê›·. ∂ÈÎÔÓ›˙ÂÙ·È, ÙËÓ ›‰È· ÂÔ¯‹ ÙÔ ÚÔ˜ ‚ÔÚÚ¿ ÙÌ‹Ì· Ù˘ Ô‰Ô‡ ™·Ï·Ì›ÓÔ˜. ∏ ·ÚÔ˘Û›· ÙˆÓ Û˘ÌÌ·¯ÈÎÒÓ ÛÙÚ·ÙÂ˘Ì¿ÙˆÓ Û˘Ó‰¤ıËΠ̠ÙËÓ Î˘ÎÏÔÊÔÚ›· ·˘ÙÔÎÈÓ‹ÙˆÓ ÛÙË £ÂÛÛ·ÏÔÓ›ÎË, Ë ÔÔ›· ‰È¤ıÂÙ ÂÏ¿¯ÈÛÙ·.
Salaminos Street, 1915
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.
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¶˘ÚηÁÈ¿ £ÂÛÛ·ÏÔÓ›ÎË 5.8.1917
The fire of Thessaloniki 5.8.1917
¶˘ÚηÁÈ¿ ÛÙÔ ÏÈÌ¿ÓÈ
∏ ˘ÚηÁÈ¿ Ù˘ 5˘ Î·È 6˘ ∞˘ÁÔ‡ÛÙÔ˘ 1918 ·ÔÙ¤ÏÂÛ -ÏfiÁˆ Ù˘ ¤ÎÙ·Û˘ ÙˆÓ Î·Ù·ÛÙÚÔÊÒÓ Ù˘- ÔÚfiÛËÌÔ ÛÙËÓ Û‡Á¯ÚÔÓË ÈÛÙÔÚ›· Ù˘ £ÂÛÛ·ÏÔӛ΢. ŒıÈÍÂ, fï˜, ÙÔ ÏÈÌ¿ÓÈ ÏÈÁfiÙÂÚÔ ·fi ¿ÏÏ· ÛËÌ›· Ù˘ fiÏ˘. ™ÙË Û˘ÁÎÂÎÚÈ̤ÓË ÊˆÙÔÁÚ·Ê›· Á¿ÏÏÔÈ Ó·˘ÙÈÎÔ› Î·È ÛÙÚ·ÙÈÒÙ˜ ÂÚÈÂÚÁ¿˙ÔÓÙ·È fi,ÙÈ ¿ÊËÛÂ Ë ÊˆÙÈ¿ ÌÚÔÛÙ¿ ÛÙȘ ·Ôı‹Î˜ Ù˘ ΔÚ¿Â˙·˜ £ÂÛÛ·ÏÔӛ΢, ÛÙÔ ÏÈÌ¿ÓÈ. √ ÙfiÔ˜ ‹Ù·Ó ·ÚÎÂÙ¿ ¢ڇ¯ˆÚÔ˜, ·Ó Ï¿‚Ô˘Ì ˘fi„Ë fiÙÈ ÂΛ ÂͤıÂÛ·Ó ÔÈ °¿ÏÏÔÈ ÁÂÚÌ·ÓÈÎfi ·ÂÚÔÏ¿ÓÔ Ô˘ ›¯Â ¤ÛÂÈ ÛÙ· ¯¤ÚÈ· ÙÔ˘˜.
Fire at the port
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.
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¶˘ÚηÁÈ¿ £ÂÛÛ·ÏÔÓ›ÎË 5.8.1917
The fire of Thessaloniki 5.8.1917
ªÈ· ·Ú¿ÍÂÓË ¯ÚÔÓÈ΋ ˘ÛÙ¤ÚËÛË
ª›· ·ÎfiÌË Ï‹„Ë ÌÚÔÛÙ¿ ÛÙȘ ·Ôı‹Î˜ Ù˘ ΔÚ¿Â˙·˜ £ÂÛÛ·ÏÔӛ΢. ∞Ó ÎÚ›ÓÔ˘Ì ·fi ÙË ¯ÂÈÌÂÚÈÓ‹ ÂÓ‰˘Ì·Û›· ÙˆÓ ·ÂÈÎÔÓÈ˙fiÌÂÓˆÓ Ó·˘ÙÈÎÒÓ Î·È ÛÙÚ·ÙȈÙÈÎÒÓ, Ë Ï‹„Ë Ú·ÁÌ·ÙÔÔÈ‹ıËΠ·ÚÎÂÙÔ‡˜ Ì‹Ó˜ ÌÂÙ¿ ÙËÓ ˘ÚηÁÈ¿ ÙÔ˘ ∞˘ÁÔ‡ÛÙÔ˘. ¶Èı·ÓÒ˜ ÚfiÎÂÈÙ·È ÁÈ· Û˘ÓÂÚÁÂ›Ô Î·Ù‰¿ÊÈÛ˘. ∏ ÌÂÙ·ÏÏÈ΋ ÈӷΛ‰· «∂ıÓÈ΋» ˘Ô‰ËÏÒÓÂÈ ›Ûˆ˜ ÙËÓ ·ÛÊ·ÏÈÛÙÈ΋ ÂÙ·ÈÚ›·. ∞fi ÙÔ 1908 Ë ΔÚ¿Â˙· £ÂÛÛ·ÏÔӛ΢ ›¯Â ¤‰Ú· ÙËÓ ∫ˆÓÛÙ·ÓÙÈÓÔ‡ÔÏË. ΔÔ ˘ÔηٿÛÙËÌ¿ Ù˘ ÛÙË £ÂÛÛ·ÏÔÓ›ÎË ÏÂÈÙÔ‡ÚÁËÛ ̤¯ÚÈ ÙÔ 1950 ÂÚ›Ô˘.
A strange time lag
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.
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Without Title
ΔÔ ÎÙ›ÚÈÔ ÙÔ˘ ÙÂψÓ›Ԣ, ÂÚ›Ô˘ 1948-1950
ΔÔ ÙÂψÓÂ›Ô (ÎÙ›ÛÌ· ÙÔ˘ 1910) ‹Ù·Ó ηÙÂÛÙÚ·Ì̤ÓÔ «Î·Ù¿ ÙÔ ‹ÌÈÛ˘» ÌÂÙ¿ ÙËÓ ·Ô¯ÒÚËÛË ÙˆÓ Ó·˙ÈÛÙÈÎÒÓ ÛÙÚ·ÙÂ˘Ì¿ÙˆÓ ·fi ÙË £ÂÛÛ·ÏÔÓ›ÎË (30.10.1944). ™‡Ìʈӷ Ì ›ÛËÌË ¤ÎıÂÛË Ù˘ ÂÔ¯‹˜, ÙÔ 80% ÙˆÓ ÂÁηٷÛÙ¿ÛÂˆÓ ÙÔ˘ ÏÈÌ·ÓÈÔ‡ ηٷÛÙÚ¿ÊËÎ·Ó Î·Ù¿ ÙËÓ ÂÚ›Ô‰Ô Ù˘ ∫·ÙÔ¯‹˜. ΔÔÓ πÔ‡ÓÈÔ ÙÔ˘ 1948 ÔÏÔÎÏËÚÒıËÎÂ Ë Î·Ù·Û΢‹ ÙÔ˘ ÎÚËȉÒÌ·ÙÔ˜ ÌÚÔÛÙ¿ ÛÙÔ ÙÂψÓ›Ô. ΔÔ ›‰ÈÔ ÙÔ ÙÂψÓÂ›Ô ÂȉÈÔÚıÒıËΠ̤¯ÚÈ Ù· Ù¤ÏË ÙÔ˘ 1950.
The building of the customs, at about 1948-1950
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.
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47 k
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ÕÙÈÙÏË
Without Title
§ÈÌ¿ÓÈ £ÂÛÛ·ÏÔӛ΢, Á‡Úˆ ÛÙ· 1970
∞fi ‰ÂÍÈ¿ ÚÔ˜ Ù· ·ÚÈÛÙÂÚ¿: Ë ÙÚ›ÙË, Ë Ù¤Ù·ÚÙË Î·È Ë Î·Ù·Û΢·˙fiÌÂÓË ¤ÌÙË ÚÔ‚Ï‹Ù·. ªÚÔÛÙ¿ ·ÏÒÓÂÙ·È Ô Î˘Ì·ÙÔıÚ·‡ÛÙ˘. ∏ ÙÚ›ÙË ÚÔ‚Ï‹Ù· ÔÈÎÔ‰ÔÌ‹ıËΠ·fi ÙÔ ‚ÚÂÙ·ÓÈÎfi Ù¿ÁÌ· Ì˯·ÓÈÎÔ‡ Lancashire ÌÂÙ¿ ÙÔÓ fiÏÂÌÔ Î·È ·Ï·ÈfiÙÂÚ· ·ÔηÏÔ‡ÓÙ·Ó Ì ÙÔ fiÓÔÌ· ÙÔ˘ Ù¿ÁÌ·ÙÔ˜. ∏ ٤ٷÚÙË ÚÔ‚Ï‹Ù· ۯ‰ȿÛÙËΠÙÔ 1960 Î·È ÂÚÈÏ·Ì‚¿ÓÂÈ ÌÂÁ¿ÏÔ ÛÈÏfi. ΔÔ 1975 ÍÂΛÓËÛÂ Ë ‰È·‰Èηۛ· ÁÈ· ÙËÓ Î·Ù·Û΢‹ Ù˘ ¤ÎÙ˘ ÚÔ‚Ï‹Ù·˜, ·ÊÔ‡ ÛÙÔ ÌÂٷ͇ ›¯Â ÔÏÔÎÏËÚˆı› Ë Ù¤Ù·ÚÙË Î·È Â›¯Â ηٷÛ΢·ÛÙ› Ë ¤ÌÙË.
The port of Thessaloniki, about 1970
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.
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New break water
The new breakwater
∫˘Ì·ÙÔıÚ·‡ÛÙ˘, ÂÚ›Ô˘ 1945-1948
√ Ó¤Ô˜ Î˘Ì·ÙÔıÚ·‡ÛÙ˘, Ì‹ÎÔ˘˜ 650 ̤ÙÚˆÓ, Û˘ÌÏ‹ÚˆÛ ÙÔÓ ·Ï·Èfi (Ì‹ÎÔ˘˜ 550 ̤ÙÚˆÓ). ∫·Ù·Û΢¿ÛÙËΠ·fi ÙÔ Ù¿ÁÌ· Ì˯·ÓÈÎÔ‡ ÙÔ˘ Lancashire ÛÙËÓ ÂÚ›Ô‰Ô 1945-1948.
Breakwater, about 1945-1948
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.
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51 k
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∏ Ù¯ÓËÙ‹ ÓËÛ›˜ ÂÓÙfi˜ ÙÔ˘ ∫fiÏÔ˘ Ù˘ £ÂÛÛ·ÏÔӛ΢, ÂȘ ·fiÛÙ·ÛÈÓ 800 ̤ÙÚˆÓ ·fi Ù˘ ·ÎÙ‹˜ Î·È ÂȘ ‚¿ıÔ˜ ı·Ï¿ÛÛ˘ 12 ̤ÙÚˆÓ. ∂Ș Ù·‡ÙËÓ ı· ÂÎÊÔÚÙÒÓÔ˘Ó Î·È ı· ÊÔÚÙÒÓÔ˘Ó ÏÔ›· ̤¯ÚÈ Î·È 17.000 ÙfiÓˆÓ
The artificial island in the Gulf of Thessaloniki, some 800 meters off the coast and at a 12-meter deep sea. There, ships up to 17.000 tons are to be loaded and unloaded
∏ ¿ÁÓˆÛÙË «ÓËÛ›‰·»
∏ ·Ó·ÊÂÚfiÌÂÓË «ÓËÛ›‰·», Ô˘ Ë Î·Ù·Û΢‹ Ù˘ ÙÔÔıÂÙÂ›Ù·È ÛÙ· Ù¤ÏË Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 1950, ‰ÂÓ Â›Ó·È ÁÓˆÛÙ‹ ·fi ¿ÏÏË ËÁ‹. ∏ ·Ó¿ÁÎË Ù˘ ‰ËÌÈÔ˘ÚÁ›·˜ Ù˘ ÚÔÂÚ¯fiÙ·Ó ÚÔÊ·ÓÒ˜ ·fi ÙËÓ ¤ÏÏÂÈ„Ë Î·Ù¿ÏÏËÏˆÓ ÎÚËȉˆÌ¿ÙˆÓ. ¢Â‰Ô̤ÓÔ˘ fiÙÈ ÛÙÔ ¿ÎÚÔ Ù˘ ٤ٷÚÙ˘ ÚÔ‚Ï‹Ù·˜ ÙÔ ‚¿ıÔ˜ ·Ó¤Ú¯ÂÙ·È Û 12 ̤ÙÚ· Î·È fiÙÈ Ë ÚÔ‚Ï‹Ù· ·˘Ù‹ ›¯Â ·Ú¯›ÛÂÈ Ó· ηٷÛ΢¿˙ÂÙ·È ÙÔ 1960 (Û ̋ÎÔ˜ 130 ̤ÙÚˆÓ), Ë «Ù¯ÓËÙ‹ ÓËÛ›˜» (Ô˘ ›¯Â ·˘Ù¿ Ù· ¯·Ú·ÎÙËÚÈÛÙÈο) ı· ÌÔÚÔ‡Û ӷ ‹Ù·Ó Úfi‰ÚÔÌË ÌÔÚÊ‹ Ù˘ ÚÔ‚Ï‹Ù·˜.
The unknown «island»
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.
k 52
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P O R T
17
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53 k
18
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ÕÙÈÙÏË
Without Title
ΔÔ ÏÈÌ¿ÓÈ Î·È Ë ·Ú·Ï›· Ù˘ £ÂÛÛ·ÏÔӛ΢, ·fi ‚ÔÚÂÈÔ‰˘ÙÈ΋ ηÙ‡ı˘ÓÛË, Á‡Úˆ ÛÙ· 1970
™Â ÚÒÙÔ Ï¿ÓÔ Ë Ù¤Ù·ÚÙË ÚÔ‚Ï‹Ù· Ì ÙÔ ÛÈÏfi. ™Ù· ·ÚÈÛÙÂÚ¿ Ù˘ Ë ÙÚ›ÙË ÚÔ‚Ï‹Ù· (Lancashire). Δ· ÎÂÓ¿ ÔÈÎfi‰· Ù˘ Ï·Ù›·˜ ∞ÚÈÛÙÔÙ¤ÏÔ˘˜ ¤¯Ô˘Ó ·ÓÔÈÎÔ‰ÔÌËı›, fiˆ˜ Î·È Ù· ·Ï·È¿ ‰ÈÒÚÔÊ· ÎÙ›ÛÌ·Ù· › Ù˘ ·Ú·Ïȷ΋˜ Ô‰Ô‡ ÚÔ˜ ÙÔ §Â˘Îfi ¶‡ÚÁÔ.
The port and the waterfront of Thessaloniki, northwestwards, about 1970
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.
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19
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Without Title
ΔÔ ÎÚË›‰ˆÌ· Á‡Úˆ ·fi ÙËÓ ÚÔ‚Ï‹Ù· Lancashire, ÂÚ› ÙÔ 1970
∫·Ù¿ Ì‹ÎÔ˜ ÙÔ˘ ÎÚËȉÒÌ·ÙÔ˜ ¤¯ÂÈ ÙÔÔıÂÙËı› ÛȉËÚÔ‰ÚÔÌÈ΋ ÁÚ·ÌÌ‹, ¿Óˆ ÛÙËÓ ÔÔ›· ÎÈÓÂ›Ù·È Ô ÁÂÚ·Ófi˜. ™ÙÔ ¿ÎÚÔ ‰ÂÍÈ¿ ÙÔ ÎÙ›ÚÈÔ ÙÔ˘ ÙÂψÓ›Ԣ.
The seawall around the Lancashire wharf, around 1970
Along the seawall, a railway has been constructed, over which the crane moves. On the left end, there is the customs building.
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¶ÏÔ›· ¯ˆÚ›˜ ÎÚËȉÒÌ·Ù·
∏ ηٷÛ΢‹ Ù˘ ¤ÎÙ˘ ÚÔ‚Ï‹Ù·˜ ·ÔÙ¤ÏÂÛ ‰È·¯ÚÔÓÈÎfi ÛÙfi¯Ô, ÒÛÙ ӷ ÌË ‰ËÌÈÔ˘ÚÁÂ›Ù·È Û˘ÌÊfiÚËÛË ÛÙÔ ÏÈÌ¿ÓÈ Ù˘ £ÂÛÛ·ÏÔӛ΢, ÚÒÙÔ ·fi ¿Ô„Ë ÂÍ·ÁˆÁÈÎÔ‡ fiÁÎÔ˘ ÛÙËÓ ∂ÏÏ¿‰·.
Ships without seawalls
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.
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59 k
¶∞ƒ∞§π∞
ΔHE WATERFRONT
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 threeor 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. ™ÙË ıÂÌ·ÙÈ΋ ÙˆÓ ÔÙÈÎÒÓ ÙÂÎÌËÚ›ˆÓ Ù˘ £ÂÛÛ·ÏÔӛ΢, Ë ·Ú·Ï›· ·ÔÙÂÏ› ı¤Ì· ÓÂfiÙÂÚÔ ·fi ÙÔ ÏÈÌ¿ÓÈ ‰ÈfiÙÈ Û˘ÓÈÛÙ¿ Î·È Û¯ÂÙÈο ÚfiÛÊ·ÙÔ ÛÙÔÈ¯Â›Ô Ù˘ fiÏ˘. ª¤¯ÚÈ ÙȘ ·Ú¯¤˜ Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 1870 ‰ÂÓ ˘‹Ú¯Â ·Ú·Ï›·. ™ÙË ı¤ÛË Ù˘ ÛËÌÂÚÈÓ‹˜ Ô‰Ô‡ ¶ÚÔͤÓÔ˘ ∫ÔÚÔÌËÏ¿ ˘„ˆÓfiÙ·Ó ·Ì˘ÓÙÈÎfi ı·Ï¿ÛÛÈÔ Ù›¯Ô˜. ΔÔ Ù›¯Ô˜ ÂΛÓÔ Î·Ù‰·Ê›ÛÙËÎÂ Î·È ‰ËÌÈÔ˘ÚÁ‹ıËÎ·Ó Ì ¤ÌÏËÛË Ù˘ ı¿Ï·ÛÛ·˜ ‰Âο‰Â˜ Ó¤· ÔÈÎfi‰· Î·È ÌÈ· ÚÔÎ˘Ì·›·, Ì‹ÎÔ˘˜ 1.100 ̤ÙÚˆÓ, ·fi ÙÔ ÏÈÌ¿ÓÈ ˆ˜ ÙÔÓ §Â˘Îfi ¶‡ÚÁÔ ÛÙÂÓfiÙÂÚË ·fi ÙË ÛËÌÂÚÈÓ‹. ™ÙËÓ ÂÚ›Ô‰Ô 19031907 Ú·ÁÌ·ÙÔÔÈ‹ıËΠ‰È·Ï¿Ù˘ÓÛË Ù˘ ÚÔÎ˘Ì·›·˜ ηٿ ÔÎÙÒ Ì¤ÙÚ·, Ì ·ÚÈÔ ÛÎÔfi ÙËÓ ÂÓ›Û¯˘ÛË Ù˘ ÛÙÂÚÂfiÙËÙ¿˜ Ù˘. ΔËÓ ›‰È· ÂÚ›Ô‰Ô ÔÈ ÂÚÈÛÛfiÙÂÚ˜ Úfi¯ÂÈÚ˜ ÎÙÈÚȷΤ˜ ηٷÛ΢¤˜ Ù˘ ·Ú·Ï›·˜ ·Ú·¯ÒÚËÛ·Ó ÙË ı¤ÛË ÙÔ˘˜ Û ‰ÈÒÚÔÊ· ‹ ÙÚÈÒÚÔÊ· ÎÙ›ÚÈ·. ∏ ˘ÚηÁÈ¿ ÙÔ˘ 1917 η٤ÛÙÚ„ ٷ ÂÚÈÛÛfiÙÂÚ· ·fi ·˘Ù¿. ∞fi ÙÔ 1920 ̤¯ÚÈ ÙÔ 1970, ÂÚ›Ô˘, Ù· ·Ú·Ïȷο ÔÈÎfi‰· ÎÙ›ÛıËÎ·Ó ¿ÏϘ ‰‡Ô ÊÔÚ¤˜: ΔËÓ ÚÒÙË, Ì ÙÚÈÒÚÔÊ· ‹ ÙÂÙÚ·ÒÚÔÊ· ÎÙ›ÚÈ·. ΔË ‰Â‡ÙÂÚË, Ì ÔÎÙ·fiÚÔʘ ÔÈÎÔ‰Ô̤˜. √È 16 ʈÙÔÁڷʛ˜ ·fi ÙË Û˘ÏÏÔÁ‹ Ù˘ °ÂÓÈ΋˜ °Ú·ÌÌ·Ù›·˜ ∂ÈÎÔÈÓˆÓ›·˜ - °ÂÓÈ΋˜ °Ú·ÌÌ·Ù›·˜ ∂ÓË̤ڈÛ˘ Ô˘ ·ÎÔÏÔ˘ıÔ‡Ó, ÂÓÙÔ›˙Ô˘Ó ÙȘ ÌÂÙ·‚ÔϤ˜ ÙÔ˘ ¯ÒÚÔ˘, ȉȷ›ÙÂÚ· ÛÙËÓ ÂӉȷʤÚÔ˘Û· ÂÚ›Ô‰Ô 1950-1970. √È ÂÚÈÛÛfiÙÂÚ˜ ‹Ù·Ó ˆ˜ ÙÒÚ· ·Ó¤Î‰ÔÙ˜.
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ÕÙÈÙÏË
Without Title
¶·Ú·Ï›·, Ù¤ÏÔ˜ 19Ô˘ ·ÈÒÓ·
ΔÌ‹Ì· ·ÚıÚˆÙ‹˜ ʈÙÔÁÚ·Ê›·˜, Ô˘ ·ÂÈÎÔÓ›˙ÂÈ ÙËÓ ·Ï·È¿ ·Ú·Ï›· ·Ó¿ÌÂÛ· ÛÙȘ (ÛËÌÂÚÈÓ¤˜) Ô‰Ô‡˜ ÃÚ˘ÛÔÛÙfiÌÔ˘ ™Ì‡ÚÓ˘ (‰ÂÍÈ¿) Î·È ªËÙÚÔÔÏ›ÙÔ˘ πˆÛ‹Ê (·ÚÈÛÙÂÚ¿). √È Â›ÛË̘ ÔÓÔ̷ۛ˜ ÙˆÓ ‰ÚfiÌˆÓ ·˘ÙÒÓ ÛÙËÓ ÙÔ˘ÚÎÈ΋ ‹Ù·Ó Ô‰fi˜ §Ô¯›· ∂ÓÙ¤Ì Î·È Ô‰fi˜ ¶·Ï·ÈÔ‡ ∞ÏÔÁÔ¿˙·ÚÔ˘. ∏ ·Ú·Ï›· ›¯Â ÙÔ fiÓÔÌ· ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘ (ªÂÁÈ¿˙ ∫Ô˘Ï¤). √È ¤ÏÏËÓ˜ ÙËÓ ÔÓfiÌ·˙·Ó ·ÏÒ˜ «ÚÔÎ˘Ì·›·». ∏ Ï‹„Ë ¯ÚËÛÈÌÔÔÈ‹ıËΠ۠ÌÂÙ·ÁÂÓ¤ÛÙÂÚË Î·ÚÙÔÛÙ¿Ï Î·È ‰ÂÓ ¤¯ÂÈ Ô˘ÛÈ·ÛÙÈΤ˜ ‰È·ÊÔÚ¤˜ ·fi ÁÓˆÛÙ¤˜ ʈÙÔÁÚ·Ê‹ÛÂȘ, ¯ÚÔÓÔÏÔÁË̤Ó˜ ÛÙËÓ ÂÚ›Ô‰Ô 1893-1902. Δ· ÂÈÎÔÓÈ˙fiÌÂÓ· ÎÙ›ÛÌ·Ù· ÙÔ˘ 1870 ›¯·Ó ·ÓÙÈηٷÛÙ·ı› ̤¯ÚÈ ÙÔ 1917.
Waterfront, late 19th century
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.
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22
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Without Title
§ÂˆÊfiÚÔ˜ ¡›Î˘, 1915 ‹ 1916
§‹„Ë ·fi Ù· ·Ó·ÙÔÏÈο ÂÚ›Ô˘ ÛÙÔ ‡„Ô˜ Ù˘ (ÛËÌÂÚÈÓ‹˜) Ô‰Ô‡ ∫·ÏÏ¿ÚË. ∞fi ÙËÓ Î·Ù·Û΢‹ Ù˘ Î·È Ì¤¯ÚÈ ÙË ‰ÂηÂÙ›· ÙÔ˘ 1950, ÛÙËÓ ÚÔÎ˘Ì·›· ¿Ú·˙·Ó Ù· ÈÛÙÈÔÊfiÚ· Ô˘ ÚÔÌ‹ı¢·Ó ÙË £ÂÛÛ·ÏÔÓ›ÎË Ì ÙÚfiÊÈÌ· ·fi ÙȘ Á‡Úˆ ÂÚÈÔ¯¤˜ Î·È Ù· ÓËÛÈ¿ ÙÔ˘ μÔÚ›Ԣ ∞ÈÁ·›Ô˘. ∂›Û˘, ·fi ÙËÓ ·Ú·Ï›· ÂÚÓÔ‡Û ÙÔ ÙÚ·Ì ·fi ÙÔ 1893 ̤¯ÚÈ ÙÔ 1926. ΔÔ 1916 ‰›Ï· ÛÙËÓ ÙÚÔ¯ÈÔ‰ÚÔÌÈ΋ ÁÚ·ÌÌ‹ Ù· Û˘ÌÌ·¯Èο ÛÙÚ·Ù‡̷ٷ ÂÁη٤ÛÙËÛ·Ó Î·È ÌÈ· ÛȉËÚÔ‰ÚÔÌÈ΋, Ô˘ Ô‰ËÁÔ‡Û ·fi ÙÔ ÏÈÌ¿ÓÈ ÛÙË ª›ÎÚ· (ÂÚ›Ô˘ 15 ¯ÈÏÈfiÌÂÙÚ·).
Nikis Avenue, 1915 or 1916
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).
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65 k
23
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ÕÙÈÙÏË
Without Title
∫·ÚÙÔÛÙ¿Ï 1915 ‹ 1916
∞ÂÈÎÔÓ›˙ÂÙ·È ÙÔ ÍÂÓÔ‰Ô¯Â›Ô «™Ï¤ÓÙÈÙ ¶·ÏÏ¿˜». √ÈÎÔ‰ÔÌ‹ıËΠÙÔ 1908, ÛÙÔ ¯ÒÚÔ fiÔ˘ ÚÔËÁÔ˘Ì¤Óˆ˜ ‚ÚÈÛÎfiÙ·Ó Ë «Ó¤· ȯı˘·ÁÔÚ¿», Î·È Î¿ËΠÛÙËÓ ˘ÚηÁÈ¿ ÙÔ˘ 1917. ™ÙË ı¤ÛË ÙÔ˘ ·ÓÂÁ¤ÚıËΠÙÔ 1925 ÙÔ ÍÂÓÔ‰Ô¯Â›Ô «ªÂÓÙÈÙÂÚ·Ó¤». ™‡Ìʈӷ Ì ‰È·Ê‹ÌÈÛË Ô˘ ‰ËÌÔÛȇÙËΠfiÙ·Ó ¿Ú¯ÈÛ ӷ ÏÂÈÙÔ˘ÚÁ›, ‰È¤ıÂÙ «ΔÂÛÛ·Ú¿ÎÔÓÙ· ‰ˆÌ¿ÙÈ·, ·Ó·ÁÓˆÛÙ‹ÚÈÔÓ, ÎÏÂȉÔ·̂·ÏÔÓ Î·È ÏÔ˘ÙÚÒÓ·… ∂›Û˘ Û˘ÛÛ›ÙÈÔÓ (Table d’Ote) Ì ¢ÚfiÛÈÙÔ˘˜ ÙÈÌ¿˜. Δ¤ÏÔ˜ ¤¯ÂÈ ÙÔÓ ÚÒÙÔÓ ‰È¿ ÙËÓ £ÂÛÛ·ÏÔÓ›ÎËÓ ÓˆÙÂÚÈÛÌfiÓ: ·›ıÔ˘Û·Ó ÂÓ Ë Û˘Ó¤Ú¯ÔÓÙ·È ·È ÔÈÎÔÁ¤ÓÂÈ·È ÚÔ˜ ¢¯¿ÚÈÛÙÔÓ Û˘Ó·Ó·ÛÙÚÔÊ‹Ó». π‰ÈÔÎÙ‹Ù˘ Ù˘ Âȯ›ÚËÛ˘ ‹Ù·Ó Ô ∫ˆÓÛÙ·ÓÙ›ÓÔ˜ ƒÒÌ··˜, Ô ÔÔ›Ô˜ ˘‹ÚÍÂ Î·È ÂÎÌÈÛıˆÙ‹˜ ÙÔ˘ ΋Ԣ ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘. ¢ÈÂÙ¤ÏÂÛ Úfi‰ÚÔ˜ ÙˆÓ ÂÏÏËÓÈÎÒÓ Û˘ÓÙ¯ÓÈÒÓ (1916), ˘Ô„‹ÊÈÔ˜ ‚Ô˘ÏÂ˘Ù‹˜ (1915) Î·È Ì¤ÏÔ˜ ÙÔ˘ ‰ËÌÔÙÈÎÔ‡ Û˘Ì‚Ô˘Ï›Ô˘ (1917-1920). ™ÙË ‰ÂηÂÙ›· ÙÔ˘ 1930 ‹Ù·Ó ϤÔÓ Î¿ÙÔÈÎÔ˜ ∞ıËÓÒÓ Î·È Û˘ÌÌÂÙ›¯Â ˆ˜ ̤ÙÔ¯Ô˜ Û ‚ÈÔÌ˯·Ó›· Á·ÓÙÔÔÈ›·˜.
Postcard, 1915 or 1916
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.
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Without Title
¶Ï·Ù›· ∂Ï¢ıÂÚ›·˜, 1916-1917
∏ Ï·Ù›· ∂Ï¢ıÂÚ›·˜ –Ô˘ÛÈ·ÛÙÈο ÙÔ ÓfiÙÈÔ ÙÌ‹Ì· Ù˘ Ô‰Ô‡ μÂÓÈ˙¤ÏÔ˘ (ÙfiÙ ԉfi˜ ™·ÌÚ‹ ¶·Û¿) Î·È Ë Û˘Ì‚ÔÏ‹ Ù˘ Ì ÙËÓ ÚÔÎ˘Ì·›·‰È·ÓÔ›¯ÙËΠÛÙ· Ù¤ÏË ÙÔ˘ 19Ô˘ ·ÈÒÓ· Î·È ¤Ï·‚ ÙËÓ ÔÓÔÌ·Û›· Ù˘ ÙÔ 1908, ·fi ÙÔ Î›ÓËÌ· Ù˘ ∂Ï¢ıÂÚ›·˜ Î·È ¶ÚÔfi‰Ô˘ (ÙˆÓ ¡ÂfiÙÔ˘ÚΈÓ). ŒÙÛÈ, Â›Ó·È Ë ÌÔÓ·‰È΋ Ï·Ù›· Ù˘ £ÂÛÛ·ÏÔӛ΢ Ô˘ ‰È·ÙËÚ› ÙËÓ ›‰È· ÔÓÔÌ·Û›· › ¤Ó· ·ÈÒÓ·. ∏ Ï‹„Ë ¤ÁÈÓ ÌÂÙ¿ ÙÔ ºÂ‚ÚÔ˘¿ÚÈÔ ÙÔ˘ 1916 (ÔfiÙ ÙÔÔıÂÙ‹ıËÎÂ Ë ÛȉËÚÔ‰ÚÔÌÈ΋ ÁÚ·ÌÌ‹ Ô˘ Û˘Ó¯›˙ÂÈ ÛÙÔ ÏÈÌ¿ÓÈ Î·È Â›Ó·È ‰È·ÊÔÚÂÙÈ΋ ·fi ÙËÓ ÙÚÔ¯ÈÔ‰ÚÔÌÈ΋ Ô˘ ·ÓËÊÔÚ›˙ÂÈ ÙËÓ Ô‰fi μÂÓÈ˙¤ÏÔ˘), ·ÏÏ¿ ÔˆÛ‰‹ÔÙ fi¯È ÚÈÓ ·fi ÙÔÓ ∞‡ÁÔ˘ÛÙÔ ÙÔ˘ 1917, ÔfiÙÂ Î·È Ù· ÂÚÈÛÛfiÙÂÚ· ÂÈÎÔÓÈ˙fiÌÂÓ· ÎÙ›ÚÈ· ηٷÛÙÚ¿ÊËÎ·Ó ·fi ÙËÓ ˘ÚηÁÈ¿. √È ÂÓ‰˘Ì·Û›Â˜ ÙˆÓ ·ÂÈÎÔÓÈ˙fiÌÂÓˆÓ ‰Â›¯ÓÔ˘Ó fiÙÈ Ë Ï‹„Ë ¤ÁÈÓ ¯ÂÈÌÒÓ·. ÕÏψÛÙÂ, Ë Ì¤Ú· Ú¤ÂÈ Ó· ‹Ù·Ó „˘¯Ú‹, ‰È·ÊÔÚÂÙÈο Ë Ï·Ù›· ı· ‹Ù·Ó ÁÂÌ¿ÙË ÙÚ·Â˙¿ÎÈ· ·fi Ù· ·Ú·Î›ÌÂÓ· ˙·¯·ÚÔÏ·ÛÙ›· (fiˆ˜ Û ÔÏϤ˜ ¿ÏϘ ʈÙÔÁڷʛ˜).
Eleftherias Square, 1916-1917
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).
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11 πÔ˘Ï›Ô˘ 1942. °ÂÚÌ·ÓÈΤ˜ ·Ú¯¤˜ ¤¯Ô˘Ó Û˘ÁÎÂÓÙÚÒÛÂÈ ÙÔ˘˜ ¿ÚÚÂÓ˜ ∂‚Ú·›Ô˘˜ Ù˘ fiÏ˘ ÁÈ· Ó· ÙÔ˘˜ ηٷÁÚ¿„Ô˘Ó. ΔÔ˘˜ ÎÙ˘Ô‡Ó Î·È ÙÔ˘˜ ˘Ô‚¿ÏÔ˘Ó Û ÂÍ¢ÙÂÏÈÛÌÔ‡˜
11 July 1942. The German authorities have gathered the male Jews of the city in order to record them. They hit and humiliate them
√ ÂÍ¢ÙÂÏÈÛÌfi˜ ÂÏÏ‹ÓˆÓ ÔÏÈÙÒÓ (1)
ΔÔ ÚÒÙÔ ÛÔ‚·Úfi ·Óı‚ڷ˚Îfi ̤ÙÚÔ Â› ∫·ÙÔ¯‹˜ ÛËÌÂÈÒıËΠÛÙËÓ Ï·Ù›· ∂Ï¢ıÂÚ›·˜ ÙÔ ™¿‚‚·ÙÔ 11.7.1942, fiÙ·Ó ÔÈ Ó·˙ÈÛÙÈΤ˜ ·Ú¯¤˜ οÏÂÛ·Ó 9.000 ¿ÚÚÂÓ˜ ∂‚Ú·›Ô˘˜ Ù˘ £ÂÛÛ·ÏÔӛ΢, ËÏÈΛ·˜ 1845 ÂÙÒÓ, ÁÈ· Ó· ÙÔ˘˜ ηٷÁÚ¿„Ô˘Ó, ÚÔÎÂÈ̤ÓÔ˘ Ó· ÙÔ˘˜ ÂÈÛÙÚ·Ù‡ÛÔ˘Ó ÁÈ· ηٷӷÁηÛÙÈ΋ ÂÚÁ·Û›· Û ϷÙÔÌ›· Î·È ¿ÏÏ· ÂÚÁÔÙ¿ÍÈ· ÂÎÙfi˜ £ÂÛÛ·ÏÔӛ΢. ŸÛÔÈ ÚÔÛ‹Ïı·Ó ˘Ô¯ÚÂÒıËÎ·Ó Ó· ·Ú·Ì›ÓÔ˘Ó Ì¤¯ÚÈ ÙȘ ‰‡Ô ÙÔ ÌÂÛË̤ÚÈ ¯ˆÚ›˜ η¤ÏÔ, οو ·fi ÙÔÓ Î·ÏÔηÈÚÈÓfi ‹ÏÈÔ, ÂÓÒ ÔÏÏÔ› ¯Ù˘‹ıËÎ·Ó ·ÓËÏÂÒ˜ ‹ ˘Ô¯ÚÂÒıËÎ·Ó Û ÂÍ¢ÙÂÏÈÛÙÈΤ˜ ÎÈÓ‹ÛÂȘ.
The humiliation of Greek citizens (1)
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.
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[™˘Ó¤¯ÂÈ· ·fi ÙËÓ ÚÔËÁÔ‡ÌÂÓË]
[Continued from the previous photo]
√ ÂÍ¢ÙÂÏÈÛÌfi˜ ÂÏÏ‹ÓˆÓ ÔÏÈÙÒÓ (2)
∏ ÛÎÏËÚfiÙËÙ· Ù˘ ÌÂÙ·¯Â›ÚÈÛ˘ ‹Ù·Ó ÚÔÌÂÏÂÙË̤ÓË. ∂·ÎÔÏÔ‡ıËÛ ·ÎfiÌË ÛÎÏËÚfiÙÂÚË ÌÂÙ·¯Â›ÚÈÛË ÛÙ· ÂÚÁÔÙ¿ÍÈ·, ÌÂÙ¿ ÙËÓ ÂÈÛÙÚ¿Ù¢ÛË πÛÚ·ËÏÈÙÒÓ ·Î·Ù¿ÏÏËÏˆÓ ÁÈ· ‚·ÚÈ¿ ۈ̷ÙÈ΋ ÂÚÁ·Û›·, Ô˘ Ô‰‹ÁËÛ Û ·ıÚfiÔ˘˜ ı·Ó¿ÙÔ˘˜ ÙˆÓ ÂÈÛÙÚ·ÙÂ˘Ì¤ÓˆÓ. ŒÙÛÈ, Ë πÛÚ·ËÏÈÙÈ΋ ∫ÔÈÓfiÙËÙ· ˘Ô¯ÚÂÒıËΠӷ ÂÍ·ÁÔÚ¿ÛÂÈ ÙËÓ Î·Ù·Ó·ÁηÛÙÈ΋ ÂÚÁ·Û›· ·ÓÙ› ÌÂÁ¿ÏÔ˘ ÔÛÔ‡, Ô˘ η٤‚·Ï ÛÙË Ó·˙ÈÛÙÈ΋ ‰ÈÔ›ÎËÛË. ∏ ›ÛÚ·ÍË ·˘ÙÒÓ ÙˆÓ Ï‡ÙÚˆÓ ¤ÁÈÓ Ì οı ÂÈÛËÌfiÙËÙ·: ÌÂ Û˘Ì‚¿ÛÂȘ, ¯·ÚÙfiÛËÌ· Î·È ÙÚ·Â˙ÈΤ˜ ÂÈÙ·Á¤˜.
The humiliation of Greek citizens (2)
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.
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9 ∞ÚÈÏ›Ô˘ 1941. ΔÂıˆÚ·ÎÈṲ̂ӷ Ù˘ ÛÙÚ·ÙÈ¿˜ ÙÔ˘ §ÈÛÙ ¤¯Ô˘Ó ÂÈÛ¤ÏıÂÈ ÛÙË £ÂÛÛ·ÏÔÓ›ÎË Î·È Î·Ù¢ı‡ÓÔÓÙ·È ÚÔ˜ ÙÔÓ §Â˘Îfi ¶‡ÚÁÔ
9 April 1941. The tanks of List’s army entered Thessaloniki and head to the White Tower
Δ·ÓΘ Ù˘ μ¤ÚÌ·¯Ù ÛÙËÓ ·Ú·Ï›·
¶¤Ú· ·fi Ù· ‰ÂÈÓ¿ Ô˘ ˘¤ÛÙËÛ·Ó fiϘ ÔÈ ¿ÏϘ ÂÏÏËÓÈΤ˜ fiÏÂȘ, Ë ∫·ÙÔ¯‹ ·ÔÛÙ¤ÚËÛ ÙË £ÂÛÛ·ÏÔÓ›ÎË ·fi ÙÔ ¤Ó· ¤ÌÙÔ ÙˆÓ Î·ÙÔ›ÎˆÓ Ù˘, ‰ËÏ·‰‹ ÙÔ Û‡ÓÔÏÔ Û¯Â‰fiÓ ÙÔ˘ ‚ڷ˚ÎÔ‡ ÏËı˘ÛÌÔ‡ Ù˘. ∂› ϤÔÓ Ë fiÏË ·ÔÙ¤ÏÂÛ ¤‰Ú· Ù˘ ÁÂÚÌ·ÓÈ΋˜ ∞ÓÒÙ·Ù˘ ¢ÈÔ›ÎËÛ˘ μÔÚ›Ԣ ∞ÈÁ·›Ô˘. ∏ ∫ÂÓÙÚÈ΋ ª·Î‰ÔÓ›· ÌÂÙ·ÙÚ¿ËΠ·fi ÙÔ 1943 Û ·گ›· ÙÔ˘ ƒ¿È¯. μ›ˆÓ ÙË ÌfiÓÈÌË ·ÂÈÏ‹ ÙˆÓ ÁÂÚÌ·ÓÈÎÒÓ ·Ú¯ÒÓ fiÙÈ ı· ÙËÓ ·Ú¤‰È‰·Ó ÛÙË μÔ˘ÏÁ·Ú›·, fiˆ˜ ›¯Â ‹‰Ë Û˘Ì‚Â› Ì ÙËÓ ∞Ó·ÙÔÏÈ΋ ª·Î‰ÔÓ›·.
The tanks of Wermacht at the waterfront
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.
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∏ ·Ú·Ï›· ·fi ÙËÓ Ï·Ù›· ∞ÚÈÛÙÔÙ¤ÏÔ˘˜ ˆ˜ ÙÔ §Â˘Îfi ¶‡ÚÁÔ, ‰ÂηÂÙ›· 1940
∏ Ï‹„Ë ¤ÁÈÓ ·fi ÛοÊÔ˜, ÛÙÔ Ù¤ÏÔ˜ Ù˘ ∫·ÙÔ¯‹˜ ‹ Ï›ÁÔ ·ÚÁfiÙÂÚ·. √ §Â˘Îfi˜ ¶‡ÚÁÔ˜ ‰ÂÓ Ê·›ÓÂÙ·È Ó· ¤¯ÂÈ ··ÏÏ·Á› ·fi ÙÔ ¯ÚˆÌ·ÙÈÎfi ηÌÔ˘ÊÏ¿˙ Ô˘ ÙÔÓ ÂÚȤ‚·Ï ÏfiÁˆ ÙˆÓ ‚ÔÌ‚·Ú‰ÈÛÌÒÓ. ªfiÓÔÓ Ë ·ÚÔ˘Û›· ÏÔ›ˆÓ ÌÂÁ·Ï‡ÙÂÚˆÓ ·fi ÂΛӷ Ô˘ ÂÌÊ·Ó›˙ÔÓÙ·È ÛÙȘ ηÙÔ¯ÈΤ˜ ʈÙÔÁڷʛ˜ ‰Â›¯ÓÂÈ fiÙÈ Ë Ï‹„Ë ¤ÁÈÓ ÌÂÙ¿ ÙÔ 1944. ™ÙÔ ¿ÎÚÔ ·ÚÈÛÙÂÚ¿, ‰È·ÎÚ›ÓÂÙ·È Ô ¯ÒÚÔ˜ Ô˘ ÏÂÈÙÔ‡ÚÁËÛ (ÙÔ˘Ï¿¯ÈÛÙÔÓ ·fi ÙÔ 1947) Ô ıÂÚÈÓfi˜ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˜ «∑¤Ê˘ÚÔ˜», ÛÙËÓ Ï·Ù›· ∞ÚÈÛÙÔÙ¤ÏÔ˘˜. ∞ÎÔÏÔ˘ı› ÙÔ Ì¤Á·ÚÔ ∫ÔÓÈfiÚ‰Ô˘ (·ÓÂÁ¤ÚıËΠÙÔ 1934). ΔËÓ ›‰È· ÂÚ›Ô˘ ÂÔ¯‹ ÎÙ›ÛıËÎÂ Î·È ÙÔ ÂfiÌÂÓÔ «˘„ËÏfi ÎÙ›ÚÈÔ», ÛÙË ÁˆÓ›· Ì ÙËÓ Ô‰fi ∫. ¡ÙËÏ, fiÔ˘ ·ÚÁfiÙÂÚ· ÏÂÈÙÔ‡ÚÁËÛ ÙÔ ÂÛÙÈ·ÙfiÚÈÔ «™ÙÚ·Ù‹˜» (ηÙ‰·Ê›ÛÙËΠÙÔ 2005). ™ÙË Û˘Ó¤¯ÂÈ·, ÛÙË Û˘Ì‚ÔÏ‹ Ì ÙËÓ Ô‰fi ∞Á›·˜ ™ÔÊ›·˜ ‰È·ÎÚ›ÓÂÙ·È ÙÔ ‰ÈÒÚÔÊÔ ÍÂÓÔ‰Ô¯Â›Ô «ª·˙¤ÛÙÈλ (·ÓÂÁ¤ÚıËΠÙÔ 1924 Î·È ÛÙËÓ ∫·ÙÔ¯‹ ÂÈÙ¿¯ıËΠ·fi ÁÂÚÌ·ÓÈΤ˜ ˘ËÚÂۛ˜) Î·È ÙÔ ÔÏ˘ÒÚÔÊÔ ÎÙ›ÚÈÔ «Δ˘ÚÔÏfiË».
The waterfront from Aristotelous Square to the White Tower, 1940s
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".
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ÕÙÈÙÏË
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∏ ·Ú·Ï›· ·fi ÙËÓ Ï·Ù›· ∞ÚÈÛÙÔÙ¤ÏÔ˘˜ ˆ˜ ÙËÓ ·Ï·È¿ ∏ÏÂÎÙÚÈ΋ ∂Ù·ÈÚ›·, ·Ú¯¤˜ ‰ÂηÂÙ›·˜ 1950
∏ Ï‹„Ë ¤ÁÈÓ ·fi η˝ÎÈ, ·Ú·Á̤ÓÔ ÌÚÔÛÙ¿ ÛÙËÓ Ï·Ù›· ∞ÚÈÛÙÔÙ¤ÏÔ˘˜. ™ÙÔ ·ÚÈÛÙÂÚfi ÙÌ‹Ì· Ù˘ ʈÙÔÁÚ·Ê›·˜ (‰›Ï· ·fi ÙÔ ‰›¯Ù˘) ‰È·ÎÚ›ÓÂÙ·È Ô ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˜ «∑¤Ê˘ÚÔ˜» Î·È Ù· ÙÚ·¤˙È· ÙÔ˘ ÔÌÒÓ˘ÌÔ˘ ÂÛÙÈ·ÙÔÚ›Ô˘. ¢ÂÍÈ¿ ·fi ÙÔ ÎÙ›ÚÈÔ ∫ÔÓÈfiÚ‰Ô˘ Ô˘ ·ÎÔÏÔ˘ı› ¤¯ÂÈ ·ÓÂÁÂÚı› (Ú‚Ï. ÙËÓ ÚÔËÁÔ‡ÌÂÓË ÊˆÙÔÁÚ·Ê›·) Ó¤Ô ÎÙ›ÚÈÔ. √ §Â˘Îfi˜ ¶‡ÚÁÔ˜ ʤÚÂÈ ÂÌÊ·Ó‹ ηٿÏÔÈ· ·fi ÙÔ Î·ÙÔ¯ÈÎfi ηÌÔ˘ÊÏ¿˙ ÙÔ˘, ÂÓÒ ÛÙÔ ¿ÎÚÔ ‰ÂÍÈ¿ (·Ó·ÙÔÏÈÎÒ˜ ÙÔ˘ ¶‡ÚÁÔ˘) ‰È·ÎÚ›ÓÔÓÙ·È ÔÈ ÙÚÂȘ ηÌÈÓ¿‰Â˜ Î·È ÙÔ ÎÙ›ÚÈÔ Ù˘ ËÏÂÎÙÚÈ΋˜ ÂÙ·ÈÚ›·˜.
The waterfront from Aristotelous Square to the old Electric Company, early 1950s
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.
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∏ ·Ú·Ï›· Ù˘ £ÂÛÛ·ÏÔӛ΢, Ù¤ÏË ‰ÂηÂÙ›·˜ 1950
∏ Ï‹„Ë ¤ÁÈÓ ·fi ÙÔ ·Ú·ı·Ï¿ÛÛÈÔ Â˙Ô‰ÚfiÌÈÔ. ∞ÚÈÛÙÂÚ¿ ·fi ÙÔ ÍÂÓÔ‰Ô¯Â›Ô «ª·˙¤ÛÙÈλ ¤¯ÂÈ ÚÔÛÙÂı› ¤Ó· ·ÎfiÌË ÔÏ˘ÒÚÔÊÔ ÎÙ›ÚÈÔ. ΔÔ ÈÛfiÁÂÈÔ ÛÙÔ ÎÙ›ÚÈÔ «Δ˘ÚÔÏfiË» (Ì ÙËÓ ¿ÛÚË Ù¤ÓÙ·) ÛÙÂÁ¿˙ÂÈ ÙÔ Î·ÊÂÓÂ›Ô «∞ÛÙfiÚÈ·». Δ· ·˘ÙÔΛÓËÙ· Â›Ó·È ·ÎfiÌË Û·ÓÈfiٷٷ. ¢ÂÍÈ¿, Ù· ÏÔÈ¿ÚÈ· Ô˘ ÂÎÙÂÏÔ‡Û·Ó ÙË Û˘ÁÎÔÈÓˆÓ›· Ì ٷ ¯ˆÚÈ¿ ÙÔ˘ £ÂÚÌ·˚ÎÔ‡ (¶ÂÚ·›·, ¡¤ÔÈ ∂È‚¿Ù˜, ∞Á›· ΔÚÈ¿‰·), fiÔ˘ ·Ú·ı¤ÚÈ˙·Ó ÔÈ £ÂÛÛ·ÏÔÓÈΛ˜.
The waterfront of Thessaloniki, late 1950s
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.
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1.3.1963.ΔÌ‹Ì· ·Ú·Ïȷ΋˜ Ô‰Ô‡ Ù˘ ÂÏÏËÓÈ΋˜ Û˘ÌÚˆÙ¢ԇÛ˘ Ì ÙÔÓ §Â˘ÎfiÓ ¶‡ÚÁÔÓ ÂȘ ÙÔ ‚¿ıÔ˜
1.3.1963. Part of the corniche of the Greek second largest city with the White Tower in the background
∏ ·Ú·Ï›· Ù˘ £ÂÛÛ·ÏÔӛ΢, ·Ú¯¤˜ ‰ÂηÂÙ›·˜ 1960
∞fi ÙËÓ ÚÔËÁÔ‡ÌÂÓË Ï‹„Ë ¤¯Ô˘Ó ÂÚ¿ÛÂÈ ÌÂÚÈο ¯ÚfiÓÈ·. ∏ ʈÙÔÁÚ·Ê›· ηχÙÂÈ ÙÔ ÙÌ‹Ì· Ù˘ ÚÔÎ˘Ì·›·˜ ·Ó¿ÌÂÛ· ÛÙËÓ Ô‰fi ªËÙÚÔÔÏ›ÙÔ˘ πˆÛ‹Ê Î·È ÙÔ §Â˘Îfi ¶‡ÚÁÔ. ∏ ÂfiÌÂÓË ‰È·ÎÚÈÓfiÌÂÓË ÁˆÓ›· (ÛÙÔ ÛËÌÂ›Ô Ô˘ ηχÙÂÈ Ô ÛÙ‡ÏÔ˜) Â›Ó·È Ë Ô‰fi˜ ÃÚ˘ÛÔÛÙfiÌÔ˘ ™Ì‡ÚÓ˘, fiÔ˘ ÛÙÂÁ·˙fiÙ·Ó (̤¯ÚÈ ÚÈÓ ·fi Ï›Á· ¯ÚfiÓÈ·) ÙÔ ÚÔÍÂÓÂ›Ô ÙˆÓ ∏¶∞. ™ÙËÓ ÂfiÌÂÓË ÁˆÓ›· ·fi ÙÔ ÚÔÍÂÓÂ›Ô –Ô‰fi˜ ªÔÚÁÎÂÓÙ¿Ô˘- ¤¯ÂÈ ·ÓÂÁÂÚı› Ë ÚÒÙË ÔÏ˘ÒÚÔÊË ÔÈÎÔ‰ÔÌ‹ Ô˘ Û˘Ó·ÓÙ‹Û·Ì ÛÙȘ ̤¯ÚÈ ÙÒÚ· ·ÂÈÎÔÓ›ÛÂȘ Ù˘ ·Ú·Ï›·˜. ™ÙËÓ ÂfiÌÂÓË ÁˆÓ›· (ÛÙÔ ‰ÈÒÚÔÊÔ Ì¤Á·ÚÔ ºÚ·ÓÛ¤˙) ÛÙÂÁ·˙fiÙ·Ó ÙÔ Î·ÊÂÓÂ›Ô Î·È ÛÊ·ÈÚÈÛÙ‹ÚÈÔ «¶ÙÈ ¶·Ï·›», ÛÙË ÁˆÓ›· Ù˘ Ô‰Ô‡ ∫·ÏÏ¿ÚË. ∞˘ÙÔΛÓËÙ· ÂÍ·ÎÔÏÔ˘ıÔ‡Ó Ó· ÂÌÊ·Ó›˙ÔÓÙ·È ÂÏ¿¯ÈÛÙ·. ∏ Ë̤ڷ Â›Ó·È ËÏÈfiÏÔ˘ÛÙË Î·È ¤Ó· ÌÈÎÚfi ÛοÊÔ˜ ÂÚÈ̤ÓÂÈ ÂÈ‚¿Ù˜ ÁÈ· ÙÔ Á‡ÚÔ ÙÔ˘ ÎfiÏÔ˘ Ù˘ £ÂÛÛ·ÏÔӛ΢.
The waterfront of Thessaloniki, early 1960s
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.
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Without Title
¶·Ú·Ï›· £ÂÛÛ·ÏÔӛ΢, ·fi ÙËÓ Ô‰fi ªËÙÚÔÔÏ›ÙÔ˘ πˆÛ‹Ê ̤¯ÚÈ ÙÔÓ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ «∂ıÓÈÎfiÓ», ·Ú¯¤˜ ‰ÂηÂÙ›·˜ 1950
∞fi ÙËÓ ÔÓÔÌ·Û›· ÙÔ˘ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˘ ‰È·ÎÚ›ÓÔÓÙ·È Ù· ‰‡Ô ÚÒÙ· ÁÚ¿ÌÌ·Ù·. ªÂÙÔÓÔÌ¿ÛÙËΠ۠«∫ÂÓÙÚÈÎfiÓ» ÛÙË Û·È˙fiÓ 1954-1955. ™˘ÓÂÒ˜, Ë Ï‹„Ë ¤ÁÈÓ ÚÈÓ ·fi ÙÔ ™Â٤̂ÚÈÔ ÙÔ˘ 1954. ∞ÚÈÛÙÂÚ¿ ·fi ÙÔÓ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ ‰È·ÎÚ›ÓÂÙ·È ÙÔ ·ÌÂÚÈηÓÈÎfi ÚÔÍÂÓÂ›Ô (Ì ÙË ÛËÌ·›·), ÛÙË ÁˆÓ›· Ì ÙËÓ Ô‰fi ÃÚ˘ÛÔÛÙfiÌÔ˘ ™Ì‡ÚÓ˘. ™ÙË Ì¤ÛË ÙÔ˘ ‰ÚfiÌÔ˘, ¤Ó· ·È‰› οÓÂÈ ·Ù›ÓÈ. °Ú¿ÊÂÈ £ÂÛÛ·ÏÔÓÈΤ·˜ Ô˘ ¤˙ËÛ ÛÙËÓ ÂÚÈÔ¯‹ ˆ˜ ·È‰› ·ÎÚÈ‚Ò˜ ÂΛÓË ÙËÓ ÂÔ¯‹: «ΔÔ ÙÈ ıfiÚ˘‚Ô ¤Î·Ó·Ó Ù· ·Ù›ÓÈ· ¿Óˆ ÛÙȘ ÌÈÎÚ¤˜ ÙÂÙÚ¿ÁˆÓ˜ ϷΛÙÛ˜ ÙÔ˘ Â˙Ô‰ÚÔÌ›Ô˘, ‰ÂÓ Ï¤ÁÂÙ·È. (…) Δ· ÌÂÁ·Ï‡ÙÂÚ· ·È‰È¿ ¤Î·Ó·Ó ÙȘ ‚fiÏÙ˜ Ì ÙÔ ·Ù›ÓÈ ÙÔ˘˜ ÛÙÔÓ ‰ÚfiÌÔ Ù˘ ·Ú·Ï›·˜ ‹ ÛÙÔÓ ·Ú·ÏÈ·Îfi Â˙fi‰ÚÔÌÔ Ô˘ ‰ÂÓ Â›¯Â ϿΘ. ŸÌˆ˜ ÂÂȉ‹ ÔÏÏÔ› Á›ÙÔÓ˜ ‰È·Ì·ÚÙ˘Ú‹ıËÎ·Ó ÁÈ· ÙÔ ıfiÚ˘‚Ô, ¿Ú¯ÈÛ·Ó ÔÈ ¯ˆÚÔʇϷΘ Ó· ΢ÓËÁÔ‡Ó (…) ÙȘ ̿Ϙ Î·È Ù· ·Ù›ÓÈ·» (¢. ∫·Ú·Ì‹ÙÛÔ˜).
The waterfront of Thessaloniki, from Mitropolitou Iosif Street to the "Ethnikon" cinema, early 1950s
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).
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∞fi ÙÔÓ ÂÔÚÙ·ÛÌfiÓ Ù˘ ÂıÓÈ΋˜ ÂÂÙ›Ԣ Ù˘ 25˘ ª·ÚÙ›Ô˘ ÂȘ £ÂÛÛ·ÏÔÓ›ÎËÓ. ∂Ș ÙËÓ ÊˆÙÔÁÚ·Ê›·Ó, ·Ú¤Ï·ÛȘ ·ÓÙÈ·ÂÚÔÔÚÈÎÔ‡ ˘ÚÔ‚ÔÏÈÎÔ‡ ‰È· Ù˘ ·Ú·Ïȷ΋˜ ψÊfiÚÔ˘
From the festivities of the national anniversary of 25th March in Thessaloniki. In the photograph, the parade of an anti air artillery along the corniche
¶·Ú¤Ï·ÛË ÛÙËÓ ·Ú·Ï›·, ·Ú¯¤˜ ‰ÂηÂÙ›·˜ 1950
√ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˜ ÔÓÔÌ¿˙ÂÙ·È Î·È ¿ÏÈ «∂ıÓÈÎfiÓ», ÂÓÒ ‰ÂÓ ‰È·ÎÚ›ÓÂÙ·È Î¿ÔÈ· Ô˘ÛÈ·ÛÙÈ΋ ‰È·ÊÔÚ¿ ·fi ÙËÓ ÚÔËÁÔ‡ÌÂÓË Ï‹„Ë. ∂ÓÙ˘ˆÛÈ¿˙ÂÈ ÙÔ Ï‹ıÔ˜ Ô˘ ¤Û¢Û ӷ ·Ú·ÎÔÏÔ˘ı‹ÛÂÈ ÙË ÛÙÚ·ÙȈÙÈ΋ ·Ú¤Ï·ÛË, ȉȷ›ÙÂÚ· ÂÏ΢ÛÙÈÎfi ı¤·Ì· ÛÙËÓ ÚÔÙËÏÂÔÙÈ΋ ÂÔ¯‹.
A parade at the waterfront, early 1950s
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.
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Without Title
∏ ·Ú·Ï›· ʈÙÔÁÚ·ÊË̤ÓË ·fi ÙËÓ ÎÔÚ˘Ê‹ ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘, ÂÚ› ÙÔ 1950
ΔÔ ÙÌ‹Ì· Ù˘ ·Ú·Ï›·˜ ÚÔ˜ ÙÔ §Â˘Îfi ¶‡ÚÁÔ ‰ÂÓ Î·Ù·ÛÙÚ¿ÊËΠÛÙËÓ ˘ÚηÁÈ¿ ÙÔ˘ 1917. Δ· ‰‡Ô ÚÒÙ· ÎÙ›ÚÈ· ÛÙ· ‰ÂÍÈ¿ (ÙÔ ÁˆÓÈ·Îfi Â›Ó·È ÙÔ ÂÛÙÈ·ÙfiÚÈÔ «∂ÚÌ›ÔÓ») ‰È·ÎÚ›ÓÔÓÙ·È Î·È Û ϋ„ÂȘ ÙˆÓ ·Ú¯ÒÓ ÙÔ˘ ÂÈÎÔÛÙÔ‡ ·ÈÒÓ·. Δ· ÂfiÌÂÓ· ‰‡Ô ¯·ÌËÏfiÙÂÚ· ÎÙ›ÚÈ· ˘‹Ú¯·Ó ÛÙ· Ù¤ÏË ÙÔ˘ ‰¤Î·ÙÔ˘ ¤Ó·ÙÔ˘. ªÂÛÔÏ·‚› Ë Ô‰fi˜ ¢ËÌËÙÚ›Ô˘ °Ô‡Ó·ÚË (Ô˘ ‰ÂÓ Â›¯Â ·ÎfiÌË ‰È·ÓÔÈÁ› Ï‹Úˆ˜). ΔÔ ¤ÌÙÔ (Î·È ˘„ËÏfiÙÂÚÔ) ÎÙ›ÚÈÔ ·fi ‰ÂÍÈ¿ ‹Ù·Ó ÙÔ ÍÂÓÔ‰Ô¯Â›Ô ª·ÛÙ·˙›ÓË Î·È ˘‹Ú¯Â ηٿ ÙÔÓ ÚÒÙÔ ·ÁÎfiÛÌÈÔ fiÏÂÌÔ. ΔÔ ¤ÎÙÔ (ÌÔÓfiÚÔÊÔ) ÎÙ›ÚÈÔ ‹Ù·Ó Ô ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˜ «¶·ÏÏ¿˜», ÛÙÔ ›‰ÈÔ ÛËÌÂ›Ô ·fi ÙÔÓ ÚÒÙÔ ·ÁÎfiÛÌÈÔ fiÏÂÌÔ. ™Ù· ·ÚÈÛÙÂÚ¿ ÙÔ˘ «¶·ÏÏ¿˜» ‚Ï¤Ô˘Ì ¤Ó· ·ÎfiÌË ÙÚÈÒÚÔÊÔ ÎÙ›ÚÈÔ, Ô˘ ÂÌÊ·Ó›˙ÂÙ·È Î·È Û ϋ„ÂȘ ÙÔ˘ 1915. Δ¤ÏÔ˜, ÙÔ ÂfiÌÂÓÔ (ÁˆÓÈ·Îfi) ÎÙ›ÚÈÔ Â›Ó·È ÙÔ Ì¤Á·ÚÔ ºÚ·ÓÛ¤˙, (Ì ÙÔ Î·ÊÂÓÂ›Ô ¶ÙÈ ¶·Ï·› ÛÙÔ ÈÛfiÁÂÈÔ, ÛÙË ÁˆÓ›· Ì ÙËÓ Ô‰fi ™ÙÚ·ÙËÁÔ‡ ∫·ÏÏ¿ÚË). ∞fi Ù· ÛÙÔȯ›· ·˘Ù¿, ÙÔÓ Ù‡Ô ÙˆÓ ÛÙ‡ÏˆÓ ÙÔ˘ ‰ËÌÔÙÈÎÔ‡ ʈÙÈÛÌÔ‡, ÙË Û˘Ó¤¯ÈÛË Ù˘ ·Ì·ÍÈÙ‹˜ Ô‰Ô‡ (·ÓÙ› Â˙Ô‰ÚÔÌ›Ô˘) ÚÔ˜ ÙÔ ÙÌ‹Ì· Ù˘ ·Ú·Ï›·˜ ÌÚÔÛÙ¿ ÛÙÔ §Â˘Îfi ¶‡ÚÁÔ, ÙËÓ ÏËıÒÚ· ÙˆÓ ÈÛÙÈÔÊfiÚˆÓ, ÚÔ·ÙÂÈ fiÙÈ Ë Ï‹„Ë ‰ÂÓ Ú¤ÂÈ Ó· ¤ÁÈÓ Ôχ ÌÂÙ¿ ÙÔ 1950. ª¤Ú· ÂÔÚÙ¿ÛÈÌË, ÔˆÛ‰‹ÔÙÂ, ·Ó ÎÚ›ÓÂÈ Î·Ó›˜ ·fi ÙÔ ÛËÌ·ÈÔÛÙÔÏÈÛÌfi ·fi ÙËÓ ÔÌ‹ Ô˘ Ê·›ÓÂÙ·È Ó· ¤Ú¯ÂÙ·È ·fi Ì·ÎÚÈ¿.
The waterfront shot from the top of the White Tower, in about 1950
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.
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29.10.1960. ™ÙÈÁÌÈfiÙ˘ÔÓ ·fi ÙËÓ ·Ú¤Ï·ÛÈÓ Ù˘ Ì·ıËÙÈÒÛ˘ ÓÂÔÏ·›·˜ ÂȘ £ÂÛÛ·ÏÔÓ›ÎËÓ Â› ÙË ÂÂÙ›ˆ ÙÔ˘ ÈÛÙÔÚÈÎÔ‡ √Ãπ
29.10.1960. A snapshot of the students; parade in Thessaloniki, on the occasion of the historical √Ãπ ("Ochi", i.e. "No" to the Italian invaders)
∏ ·Ú·Ï›· ʈÙÔÁÚ·ÊË̤ÓË ·fi ÙËÓ ÎÔÚ˘Ê‹ ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘, 1960
™Ù· ¯ÚfiÓÈ· Ô˘ ÌÂÛÔÏ¿‚ËÛ·Ó ·Ó¿ÌÂÛ· Û ·˘Ù‹Ó Î·È ÙËÓ ÚÔËÁÔ‡ÌÂÓË Ï‹„Ë (·fi ÙÔ ›‰ÈÔ ÛËÌ›Ô), Ô ·ÛÙÈÎfi˜ ÈÛÙfi˜ ˘¤ÛÙË ‚·ÚÈ¿ Ï‹ÁÌ·Ù·. ¶·Ú¿ ÙÔ ÁÂÁÔÓfi˜ fiÙÈ ‰È·ÙËÚÔ‡ÓÙ·È ·ÎfiÌË Ù· ÌÈÛ¿ ·fi Ù· ÎÙ›ÚÈ· Ô˘ ÂÓÙÔ›ÛÙËÎ·Ó ÛÙËÓ ÚÔËÁÔ‡ÌÂÓË ÂÈÎfiÓ·, ¤¯ÂÈ ‹‰Ë ÎÙÈÛÙ› ÌÈ· ÔÏ˘ÒÚÔÊË ÔÈÎÔ‰ÔÌ‹, ÌÈ· ¿ÏÏË ·ÓÂÁ›ÚÂÙ·È (ÁˆÓ›· Ì ÙËÓ Ô‰fi ™ÙÚ·ÙËÁÔ‡ ∫·ÏÏ¿ÚË), ÂÓÒ Î·Ù‰·Ê›˙ÂÙ·È ÙÔ ·Ï·Èfi «∂ÚÌ›ÔÓ». ∞fi ÙËÓ ÚÔÎ˘Ì·›· ÏÂ›Ô˘Ó Ï¤ÔÓ Ù· ÈÛÙÈÔÊfiÚ·. ∏ ‰È·‰ÚÔÌ‹ Ù˘ ·Ú¤Ï·Û˘ ·fi ÙËÓ ·Ú·Ï›· Â›Ó·È ÌÈ· ·fi ÙȘ ÔÏϤ˜ Ô˘ ‰ÔÎÈÌ¿ÛÙËÎ·Ó ÛÙË £ÂÛÛ·ÏÔÓ›ÎË, ·ÏÏ¿˙ÔÓÙ·˜ Ì·˙› Ì ÙËÓ fiÏË.
The waterfront shot from the top of the White Tower, 1960
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.
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A view of Thessaloniki
∏ ·Ú·Ï›· ʈÙÔÁÚ·ÊË̤ÓË ·fi ÙËÓ ÎÔÚ˘Ê‹ ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘, ·Ú¯¤˜ ‰ÂηÂÙ›·˜ 1970
∫·Ù¿ ÙË ‰ÂηÂÙ›· Ô˘ ÌÂÛÔÏ¿‚ËÛ ·fi ÙËÓ ÚÔËÁÔ‡ÌÂÓË ÊˆÙÔÁÚ·Ê›·, Î·È Ì ÂÍ·›ÚÂÛË ÙÔ Ì¤Á·ÚÔ ºÚ·ÓÛ¤˙ ÛÙË ÁˆÓ›· Ì ÙËÓ Ô‰fi ∫·ÏÏ¿ÚË (Ô˘ ·ÎÔÏÔ‡ıËÛ ÙËÓ ÎÔÈÓ‹ ÌÔ›Ú· ÌÂÚÈο ¯ÚfiÓÈ· ·ÚÁfiÙÂÚ·), fiÏ· Ù· ¿ÏÏ· ÎÙ›ÛÌ·Ù· ¤¯Ô˘Ó ·Ú·¯ˆÚ‹ÛÂÈ ÙȘ ı¤ÛÂȘ ÙÔ˘˜ Û ÔÏ˘ÒÚÔʘ ÔÈÎÔ‰Ô̤˜. ∏ ·Ó·ÙÚÔ‹ Ù˘ Îϛ̷η˜ Ù˘ ·Ú·Ïȷ΋˜ ψÊfiÚÔ˘ ¤¯ÂÈ ÔÏÔÎÏËÚˆı›. ∏ ΢ÎÏÔÊÔÚ›· ÙˆÓ ·˘ÙÔÎÈÓ‹ÙˆÓ Â›Ó·È ÂÚÈÔÚÈṲ̂ÓË ·ÎfiÌË, ·ÏÏ¿ Ë ·ÚÔ˘Û›· ÙÔ˘˜ ¤ÓÙÔÓË.
The waterfront shot from the top of the White Tower, early 1970s
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.
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√ ΢ÎÏÈÎfi˜ «§Â˘Îfi˜ ¶‡ÚÁÔ˜» Ù˘ £ÂÛÛ·ÏÔӛ΢ ¤¯ÂÈ ÙÔ ›‰ÈÔ Û¯‹Ì· Î·È ·Ú·Ï‹ÛȘ ·Ó·ÏÔÁ›Â˜ Ì ÙÔÓ «ª·‡ÚÔ ¶‡ÚÁÔ» , ÁÓˆÛÙfi ¤ÚÁÔ ÙÔ˘ ·Ú¯ÈÙ¤ÎÙÔÓ· ™ÈÓ¿Ó, Ô ÔÔ›Ô˜ ˘„ÒÓÂÙ·È ÛÙÔ «∫¿ÛÙÚÔ Ù˘ ƒÔ‡ÌÂÏ˘», ÛÙËÓ ∫ˆÓÛÙ·ÓÙÈÓÔ‡ÔÏË. ∞ÓÙ›ıÂÙ·, fï˜ ÚÔ˜ ÙÔÓ «ª·‡ÚÔ ¶‡ÚÁÔ» (∫·Ú¿ ∫Ô˘Ï¤), Ë ÔÓÔÌ·Û›· «§Â˘Îfi˜ ¶‡ÚÁÔ˜» Â›Ó·È ÓÂfiÙÂÚË. ª¤¯ÚÈ ÙÔ 1883 ··ÓÙ¿ Ë ÔÓÔÌ·Û›· «¶‡ÚÁÔ˜ ÙÔ˘ ∞›Ì·ÙÔ˜», ÂÓÒ Ì¤¯ÚÈ ÙËÓ ÂfiÌÂÓË ‰ÂηÂÙ›· ¯ÚËÛÈÌÔÔÈÔ‡Ù·Ó ˆ˜ Ê˘Ï·Î‹ Ì ÂηÙÔÓÙ¿‰Â˜ ÎÚ·ÙÔ‡ÌÂÓÔ˘˜. ™ÙȘ ÚÒÙ˜ ·ÁÁÂÏÌ·ÙÈΤ˜ ʈÙÔÁÚ·Ê‹ÛÂȘ Ù˘ £ÂÛÛ·ÏÔӛ΢ -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›· ÚÔÓÔÌȷ΋ ÌÂÙ·¯Â›ÚÈÛË Î·È ÊˆÙÔÁÚ·Ê›˙ÂÙ·È ÌfiÓÔÓ Û˘Ìو̷ÙÈο. ∞ÏÏ¿ ÛÙȘ ÚÔ‰ÚÔÌÈΤ˜ ¯ÚˆÌÔÏÈıÔÁÚ·ÊÈΤ˜ ηÚÙÔÛÙ¿Ï Ô˘ ÂÎÙ˘ÒÓÔÓÙ·È ÛÙË °ÂÚÌ·Ó›· ‹ ÙËÓ ∞˘ÛÙÚ›· ÛÙ· 1896 Î·È 1897, ηٷϷ̂¿ÓÂÈ Âͤ¯Ô˘Û· ı¤ÛË ·Ó¿ÌÂÛ· ÛÙ· ÌÓËÌ›· Ô˘ ÂÈϤÁÔ˘Ó ÔÈ ÂΉfiÙ˜ Ù˘ £ÂÛÛ·ÏÔӛ΢. √ ‡ÚÁÔ˜ ÂÚÈ‚·ÏÏfiÙ·Ó ·fi ÂÚÈÙ›¯ÈÛÌ· Ô˘ ›¯Â ÔÎÙ·ÁˆÓÈÎfi Û¯‹Ì· Ì ¯·ÌËÏfi ‡„Ô˜ (ÂÚ›Ô˘ ¤ÓÙ ̤ÙÚ·). ™Â ÙÚÂȘ ·fi ÙȘ ·È¯Ì¤˜ ÙÔ˘ ÂÚÈÙÂȯ›ÛÌ·ÙÔ˜ ˘‹Ú¯·Ó ÈÛ¿ÚÈıÌÔÈ ÔÎÙ·ÁˆÓÈÎÔ› ˘ÚÁ›ÛÎÔÈ, ÂÓÒ ¤Ó·˜ ٤ٷÚÙÔ˜ Î·È ÌÂÁ·Ï‡ÙÂÚÔ˜ ˘ÚÁ›ÛÎÔ˜ ˘‹Ú¯Â ̤۷ ÛÙÔÓ ÂÚ›‚ÔÏÔ. ΔÔ ÂÚÈÙ›¯ÈÛÌ· ηÙ‰·Ê›ÛÙËΠÙÔ 1911. √ ‡ÚÁÔ˜ ÎËÚ‡¯ıËΠÂıÓÈÎfi ·Ú¯·ÈÔÏÔÁÈÎfi ÌÓËÌÂ›Ô ÛÙȘ 23.8.1913. √È 12 ʈÙÔÁڷʛ˜ Ù˘ ÂÓfiÙËÙ·˜ ·˘Ù‹˜ ηχÙÔ˘Ó ÙËÓ ÂÚ›Ô‰Ô 1907-1970, Ù·˘Ù›˙ÔÓÙ·È ‰ËÏ·‰‹ Ì ÙË ¯ÚÔÓÈ΋ ÂÚ›Ô‰Ô Î·Ù¿ ÙËÓ ÔÔ›· Ô ‡ÚÁÔ˜ ÌÂÙ·‚Ï‹ıËΠ·fi «ÌÓËÌ›Ի (fiˆ˜ ÔÏÏ¿ ¿ÏÏ·) Û ۋ̷ ηٷÙÂı¤Ó Ù˘ £ÂÛÛ·ÏÔӛ΢.
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TOWER
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.
WHITE
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Débarcadère de la Tour Blanche
Débarcadère de la Tour Blanche
√ §Â˘Îfi˜ ¶‡ÚÁÔ˜ Î·È Ë Í‡ÏÈÓË ·Ô‚¿ıÚ· ÙÔ˘, 1907
√ ¯ÒÚÔ˜ Á‡Úˆ ·fi ÙÔÓ ‡ÚÁÔ ‰È·ÌÔÚÊÒıËΠÛÙȘ ·Ú¯¤˜ ÙÔ˘ ÂÈÎÔÛÙÔ‡ ·ÈÒÓ·. ΔÔ 1907 ÔÈÎÔ‰ÔÌ‹ıËΠ͇ÏÈÓË ·Ô‚¿ıÚ·, ÚÔÎÂÈ̤ÓÔ˘ Ó· Â͢ËÚÂÙ‹ÛÂÈ ÙË Ó·˘ÛÈÏÔ˝· ÙÔ˘ £ÂÚÌ·˚ÎÔ‡ ∫fiÏÔ˘. ∏ ¯Ú‹ÛË ·˘Ù‹ Ì·˜ ÂÈÙÚ¤ÂÈ Ó· ·ÓÙÈÏËÊıԇ̠ÙË ÛÎÔÈÌfiÙËÙ· Ù˘ ·„›‰·˜ Î·È Ù˘ ÂÚ›Êڷ͢, Ô˘ ·¤ÎÏÂÈ ÙËÓ ·Ô‚¿ıÚ· ·fi ÙÔ ¯ÒÚÔ Ù˘ ÚÔÎ˘Ì·›·˜. ∞Ó Î·È Ë ÂÙ·ÈÚ›· Ó·˘ÛÈÏÔ˝·˜ £ÂÚÌ·˚ÎÔ‡ ÙÒ¯Â˘Û ÁÚ‹ÁÔÚ·, Ë ·Ô‚¿ıÚ· ‰È·ÙËÚ‹ıËΠÁÈ· ÌÂÚÈΤ˜ ‰ÂηÂٛ˜. ™ÙÔ ‚¿ıÔ˜, ̤۷ ·fi ÙËÓ ·„›‰·, Ê·›ÓÂÙ·È Ë Ô‰fi˜ ∂ıÓÈ΋˜ ∞̇Ó˘.
The White Tower with its wooden dock, 1907
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.
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Souvenir de Salonique - Fontaine Hamidie
Souvenir de Salonique - Fontaine Hamidie
ΔÔ ¿Óˆ ̤ÚÔ˜ Ù˘ Ô‰Ô‡ ∂ıÓÈ΋˜ ∞̇Ó˘ Î·È ÙÔ ÛÈÓÙÚÈ‚¿ÓÈ (ÛÙË ÛËÌÂÚÈÓ‹ Ï·Ù›· ™ÈÓÙÚÈ‚·Ó›Ô˘), 1908
∏ ÂÈÎfiÓ· ÚÔ¤Ú¯ÂÙ·È ·fi ηÚÙÔÛÙ¿Ï ÙˆÓ Matarasso, Saragoussi & Rousso, Ô˘ ÂΉfiıËΠÛÙË £ÂÛÛ·ÏÔÓ›ÎË ÙÔ 1908. √ ·ÂÈÎÔÓÈ˙fiÌÂÓÔ˜ ËÏÂÎÙÚÈÎfi˜ ÙÚÔ¯Èfi‰ÚÔÌÔ˜ ·ÔÙÂÏÔ‡Û ÚfiÛÊ·ÙÔ ·fiÎÙËÌ· Ù˘ £ÂÛÛ·ÏÔӛ΢, ‰Â‰Ô̤ÓÔ˘ fiÙÈ ÙÔ ¤ÙÔ˜ ÂΛÓÔ ÔÈ ÈÔΛÓËÙÔÈ ÙÚÔ¯Èfi‰ÚÔÌÔÈ ·ÓÙÈηٷÛÙ¿ıËÎ·Ó Ì ËÏÂÎÙÚÔΛÓËÙÔ˘˜. ∏ Ô‰fi˜ ∂ıÓÈ΋˜ ∞̇Ó˘ (÷ÌÈÓÙȤ) ¿Ú¯ÈÛ ӷ ηٷÛ΢¿˙ÂÙ·È ÙÔ 1889, Û ¤‰·ÊÔ˜ Ô˘ ·Ï·ÈfiÙÂÚ· ·Ó‹Î Û ıÚËÛ΢ÙÈο ȉڇ̷ٷ ·ÏÏ¿ ›¯Â ÂÚȤÏıÂÈ ÛÙÔ ·˘ÙÔÎÚ·ÙÔÚÈÎfi Ù·Ì›Ô. ΔÔ ÛÈÓÙÚÈ‚¿ÓÈ ·ÓÂÁ¤ÚıËΠÙËÓ ›‰È· ÂÔ¯‹ ·fi ÙÔ ÛÔ˘ÏÙ¿ÓÔ Ã·Ì›ÓÙ. ™‡Ìʈӷ Ì ÙÔÓ ·ÔÏÔÁÈÛÌfi ÙÔ˘ ‚ÈÏ·ÂÙ›Ô˘ £ÂÛÛ·ÏÔӛ΢, Ë ˘‰ÚÔ‰fiÙËÛ‹ ÙÔ˘ ı· ÁÈÓfiÙ·Ó ·fi ÙÔÈ΋ ˘fiÁÂÈ· ÚÔ‹ ηÈ, Û‡Ìʈӷ Ì ÙÔÓ ·Ú¯ÈÎfi ۯ‰ȷÛÌfi, ÙÔ ‡„Ô˜ ÙÔ˘ ı· ‹Ù·Ó ÔÎÙÒ Ì¤ÙÚ· (‰ÂÓ ¤ÊÙ·Û ԇÙ ٷ ÌÈÛ¿). ΔÔ ÎfiÛÙÔ˜ ÙÔ˘, Ô˘ ÚÔ¸ÔÏÔÁ›ÛıËΠ۠600 ϛژ, ı· ¯ÚˆÓfiÙ·Ó ÛÙÔ «ÚÔÛˆÈÎfi Ù·ÌÂ›Ô ÙÔ˘ ™Ô˘ÏÙ¿ÓÔ˘, fiˆ˜ Î·È ¿ÏϘ ¢ÏÔÁË̤Ó˜ ÊÈÏ·ÓıÚˆ›Â˜ Ù˘ ∞.ª.».
The upper part of Ethnikis Amynis Street and the fountain (in the present Sintrivaniou Square), 1908
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".
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ÕÊÈÍË ÙÔ˘ μÂÓÈ˙¤ÏÔ˘. ΔÂÏÂ˘Ù·›Â˜ ÚÔÂÙÔÈ̷ۛ˜ ÁÈ· ÙË ‰È·ÎfiÛÌËÛË ÙˆÓ ‰ÚfiÌˆÓ ÚÈÓ ·fi ÙËÓ ·Ú¤Ï·ÛË
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Venizelos’s arrival. The last preparations for the decoration of the streets before the parade
∞Ó·ÌÔÓ‹ ÁÈ· ÙËÓ ¤Ï¢ÛË ÙÔ˘ ∂Ï¢ıÂÚ›Ô˘ μÂÓÈ˙¤ÏÔ˘ ÛÙËÓ Ï·Ù›· ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘, 25.1.1913
∏ ÚÒÙË ÊÔÚ¿ Ô˘ Ô ∂Ï¢ı¤ÚÈÔ˜ μÂÓÈ˙¤ÏÔ˜ ÂÈÛΤÊÙËΠÙËÓ ·ÂÏ¢ıÂڈ̤ÓË ·fi ÙÔÓ ÂÏÏËÓÈÎfi ÛÙÚ·Ùfi £ÂÛÛ·ÏÔÓ›ÎË ‹Ù·Ó ηٿ ÙËÓ ÂÈÛÙÚÔÊ‹ ÙÔ˘ ·fi ÙË Û˘Ó‰È¿ÛÎÂ„Ë ÙÔ˘ §ÔÓ‰›ÓÔ˘, ÙÔÓ π·ÓÔ˘¿ÚÈÔ ÙÔ˘ 1913. ™‡Ìʈӷ Ì ÙËÓ ÂÊËÌÂÚ›‰· «¡¤· ∞Ï‹ıÂÈ·» (26.1.1913): «Ôχ ÚÔ Ù˘ ÌÂÛËÌ‚Ú›·˜ ·ÎfiÌË ÙÔ Ï‹ıÔ˜ ‹Ú¯ÈÛÂ Û˘ÁÎÂÓÙÚÔ‡ÌÂÓÔÓ ÂȘ ÙËÓ ÚÔ ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘ Ï·Ù›·Ó, fiÔ˘ ›Û˘ ÚÔÛ‹ÏıÔÓ Ù· ̤ÏË ·ÛÒÓ ÙˆÓ Û˘ÓÙ¯ÓÈÒÓ, ÔÈ ÂÌÔÚÔ¸¿ÏÏËÏÔÈ (…) Î·È Ï‹ıÔ˜ Ôχ, Ô‡Ùˆ˜ ÒÛÙÂ Ë Û˘ÁΤÓÙÚˆÛȘ η٤ÛÙË ÔÏ˘ÏËı‹˜». √ ∂. μÂÓÈ˙¤ÏÔ˜ ¤ÊÙ·Û ÛÙȘ 3 ÙÔ ·fiÁÂ˘Ì· ÛÙÔ ÛȉËÚÔ‰ÚÔÌÈÎfi ÛÙ·ıÌfi. ™ÙË ÊˆÙÔÁÚ·Ê›·, Ô ÎfiÛÌÔ˜ ¤¯ÂÈ ÛÙÚ·Ì̤ÓÔ ÙÔ ‚ϤÌÌ· ÚÔ˜ ÙÔ ¿Óˆ ̤ÚÔ˜ Ù˘ Ô‰Ô‡ ∂ıÓÈ΋˜ ∞̇Ó˘, ÂÚÈ̤ÓÔÓÙ·˜ fiÙÈ Ô Úˆı˘Ô˘ÚÁfi˜ ı· ‰È¤Û¯È˙ ÙËÓ ∂ÁÓ·Ù›· (fiÔ˘ ›Û˘ ÙÔÓ ÂÚ›ÌÂÓ·Ó ÔÏÏÔ›), ı· η٤‚·ÈÓ ÙËÓ ∂ıÓÈ΋˜ ∞̇Ó˘ Î·È ı· Û˘Ó¤¯È˙ ÚÔ˜ ÙË ÏˆÊfiÚÔ ÙˆÓ ∂ÍÔ¯ÒÓ ÁÈ· Ó· ÂÈÛÎÂÊÙ› ÙÔ ÚÔÛˆÚÈÓfi ·Ó¿ÎÙÔÚÔ (ÛÙË ÛËÌÂÚÈÓ‹ ÛÙ¿ÛË °ÂˆÚÁ›Ô˘). ŸÌˆ˜ Ô μÂÓÈ˙¤ÏÔ˜ ‹Á ·Â˘ı›·˜ -̤ۈ Ù˘ Ô‰Ô‡ ∫Ô˘ÓÙÔ˘ÚÈÒÙÔ˘- ÛÙÔ ·Ú·ÏÈ·Îfi ÍÂÓÔ‰Ô¯Â›Ô «™Ï¤ÓÙÈÙ» ÁÈ· Ó· ·Ó··˘Ù›. «√‡Ùˆ˜, ÔÈ ¯ÈÏÈ¿‰Â˜ ÙÔ˘ ÎfiÛÌÔ˘ (…) ¤ÌÂÈÓ·Ó Ì ÙËÓ ·ÔÁÔ‹Ù¢ÛÈÓ».
Waiting for Eleftherios Venizelos’s arrival at the White Tower Square, 25.1.1913
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".
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™˘ÁΤÓÙÚˆÛË ‰È·Ì·ÚÙ˘Ú›·˜
Protestation
™˘ÁΤÓÙÚˆÛË ÛÙÔÓ ∫‹Ô ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘, 1916
√ ΋Ԙ ·˘Ùfi˜ ‚ÚÈÛÎfiÙ·Ó ·Ó¿ÌÂÛ· ÛÙÔÓ ‡ÚÁÔ Î·È ÙÔ ÛËÌÂÚÈÓfi μ·ÛÈÏÈÎfi £¤·ÙÚÔ. ∏ ·ÚÔ˘Û›· ¿ÁÁÏˆÓ Î·È Á¿ÏÏˆÓ ·ÍȈ̷ÙÈÎÒÓ Î·ıÈÛÙ¿ ‚¤‚·ÈË ÙË ¯ÚÔÓÔÏfiÁËÛË ÛÙËÓ ÂÚ›Ô‰Ô ÙÔ˘ ÚÒÙÔ˘ ·ÁÎÔÛÌ›Ô˘ ÔϤÌÔ˘. √È Û˘ÁÎÂÓÙÚÒÛÂȘ Ô˘ ÁÓˆÚ›˙Ô˘Ì ·fi ÙËÓ ÂÔ¯‹ ÂΛÓË (‰ÂÓ ÂÈÙÚ¿ËÎ·Ó ÔÏϤ˜) Û˘Ó‰¤ÔÓÙ·È Ì ÙËÓ ÂͤÏÈÍË ÙÔ˘ ÂıÓÈÎÔ‡ ‰È¯·ÛÌÔ‡. ¶Èı·Ó‹ ÂÚ›ÛÙ·ÛË Â›Ó·È Ë Û˘ÁΤÓÙÚˆÛË ÙÔ˘ ™˘ÏÏfiÁÔ˘ ºÈÏÂÏ¢ı¤ÚˆÓ, ÛÙȘ 17.4.1916, Ì ÔÌÈÏËÙ‹ ÙÔÓ ¢ËÌ‹ÙÚÈÔ ¢›Áη. ¢ÂÓ ·ÔÎÏ›ÂÙ·È, fï˜, Ó· ÚfiÎÂÈÙ·È ÁÈ· ÙË Û˘ÁΤÓÙÚˆÛË ‰È·Ì·ÚÙ˘Ú›·˜ Ù˘ 8˘ ∞˘ÁÔ‡ÛÙÔ˘ 1916, ·fi ÙËÓ ÔÔ›· ÍÂΛÓËÛÂ Î·È ÙÔ ∫›ÓËÌ· Ù˘ ∂ıÓÈ΋˜ ÕÌ˘Ó·˜ (¿ÏÈ Ì ÔÌÈÏËÙ‹ ÙÔÓ ¢. ¢›Áη). ∫·È ÔÈ ‰‡Ô ËÌÂÚÔÌËӛ˜ (Ì ÙÔ ·Ï·Èfi ËÌÂÚÔÏfiÁÈÔ) Â›Ó·È Û˘Ì‚·Ù¤˜ Ì ÙÔ „¿ıÈÓÔ Î·¤ÏÔ «·Ó·Ì¿», Ô˘ ÊÔÚÔ‡Ó ÔÈ ÂÚÈÛÛfiÙÂÚÔÈ ·fi ÙÔ˘˜ ÂÈÎÔÓÈ˙fiÌÂÓÔ˘˜. ™ÙËÓ ÚÒÙË ÂÚ›ÙˆÛË, Ë ÔÌÈÏ›· ¤ÁÈÓ ̤۷ ÛÙÔ Î˘Ú›ˆ˜ (ÌË ÂÈÎÔÓÈ˙fiÌÂÓÔ) ÎÙ›ÚÈÔ ÙÔ˘ ΋Ԣ. ™ÙË ‰Â‡ÙÂÚË, ÔÈ ÔÌÈÏËÙ¤˜ ·Ó¤‚ËÎ·Ó Â¿Óˆ ÛÙÔ ÂÈÎÔÓÈ˙fiÌÂÓÔ ÂÚ›ÙÂÚÔ Ù˘ ËÏÂÎÙÚÈ΋˜ ÂÙ·ÈÚ›·˜.
Gathering at the White Tower Garden, 1916
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.
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ΔÔ Ì¤Á·ÚÔÓ ÙÔ˘ ∂ıÓÈÎÔ‡ £Â¿ÙÚÔ˘ Ù˘ fiψ˜, ÚÔ Ù˘ Ï·Ù›·˜ ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘ Î·È ÌÈ·˜ ÙˆÓ ÎÂÓÙÚÈÎˆÙ¤ÚˆÓ Ô‰ÈÎÒÓ ·ÚÙËÚÈÒÓ Ù˘ fiψ˜, 7.6.1962
The building of the National Theatre of the city, in front of the White Tower Square and on one of the most central roads of the city, 7.6.1962
¶Ï·Ù›· §Â˘ÎÔ‡ ¶‡ÚÁÔ˘, 1962
™Ù· ÂÓ‹ÓÙ· ¯ÚfiÓÈ· Ô˘ ·ÎÔÏÔ‡ıËÛ·Ó, Ë Ï·Ù›· ÌÚÔÛÙ¿ ÛÙÔÓ ‡ÚÁÔ ˘¤ÛÙË ÔÈΛϘ ÌÂÙ·‚ÔϤ˜. ª›· ·fi ·˘Ù¤˜ ‹Ù·Ó Ë Î·Ù‰¿ÊÈÛË ÙÔ˘ Û˘ÁÎÚÔÙ‹Ì·ÙÔ˜ ÙÔ˘ Ù·˘ÙÒÓ˘ÌÔ˘ ΋Ԣ (1958) Î·È Ë ·Ó¤ÁÂÚÛË ‰‡Ô ‰ËÌÔÛ›ˆÓ ÎÙÈÚ›ˆÓ ÛÙË Û˘Ì‚ÔÏ‹ Ì ÙËÓ Ô‰fi ∂ıÓÈ΋˜ ∞̇Ó˘, Ô˘ ηıfiÚÈÛ·Ó ÙÔÓ ·ÈÛıËÙÈÎfi ¯·Ú·ÎÙ‹Ú· Ù˘ ÂÚÈÔ¯‹˜ (ÛÙÔ ‰ÂÍÈfi ÙÌ‹Ì· Ù˘ ʈÙÔÁÚ·Ê›·˜): Ù· ÎÙ›ÚÈ· ÙÔ˘ ∫Ú·ÙÈÎÔ‡ £Â¿ÙÚÔ˘ μÔÚ›Ԣ ∂ÏÏ¿‰Ô˜ (1952-1962) Î·È Ù˘ §¤Û¯Ë˜ ºÚÔ˘Ú¿˜ £ÂÛÛ·ÏÔӛ΢ (1952). ∏ ΢ÎÏÔÊÔÚȷ΋ Ú‡ıÌÈÛË Ù˘ Ï·Ù›·˜, Ì ÙËÓ ˘Ô¯ÚˆÙÈ΋ ΢ÎÏÈ΋ ÔÚ›·, ÂÚfiÎÂÈÙÔ Ó· ηٷÚÁËı› ÌÂÙ¿ ·fi ÌÂÚÈο ¯ÚfiÓÈ·, fiÙ·Ó ÌÔÓÔ‰ÚÔÌ‹ıËÎ·Ó Ë Ô‰fi˜ ¶·‡ÏÔ˘ ªÂÏ¿ (Ô˘ ηÙ‚·›ÓÂÈ ·fi ÙÔ ¿Óˆ ·ÚÈÛÙÂÚfi ÙÌ‹Ì· Ù˘ ʈÙÔÁÚ·Ê›·˜) Î·È Ë Ô‰fi˜ μ·ÛÈϤˆ˜ °ÂˆÚÁ›Ô˘ (Ô˘ ·fi ÙËÓ Ï·Ù›· §Â˘ÎÔ‡ ¶‡ÚÁÔ˘ Û˘Ó¯›˙ÂÈ ÚÔ˜ Ù· ·Ó·ÙÔÏÈο). ™ÙÔ Î¿Ùˆ ‰ÂÍÈfi ̤ÚÔ˜ ‰È·ÎÚ›ÓÂÙ·È Ë ÛÙ¤ÁË ÙÔ˘ μ·ÛÈÏÈÎÔ‡ £Â¿ÙÚÔ˘. ∏ 7Ë πÔ˘Ó›Ô˘ 1962 ‹Ù·Ó Ë̤ڷ ¶¤ÌÙË. Ÿˆ˜ ‰Â›¯ÓÔ˘Ó ÔÈ ÛÎȤ˜, Ë Ï‹„Ë ¤ÁÈÓ ·ÔÁÂ˘Ì·ÙÈÓ‹ ÒÚ·. ∏ ΛÓËÛË Ô¯ËÌ¿ÙˆÓ Â›Ó·È ÂÏ¿¯ÈÛÙË ÛÙËÓ ÂÚÈÔ¯‹, ·ÏÏ¿ ·ÚÎÂÙÔ› Â˙Ô› ‚Ú›ÛÎÔÓÙ·È ÌÚÔÛÙ¿ ÛÙÔÓ ‡ÚÁÔ.
The White Tower Square, 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.
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™˘ÁÎÔÈÓˆÓÈ·Îfi˜ ÎfiÌ‚Ô˜ Ù˘ ̷ΉÔÓÈ΋˜ ÚˆÙ¢ԇÛ˘, Ì ÙËÓ ÏˆÊfiÚÔÓ ¡›Î˘ ¿ÁÔ˘Û·Ó ÚÔ˜ ÙËÓ Ï·Ù›·Ó ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘, ‰ÈÂÚ¯Ô̤ÓËÓ ¤ÌÚÔÛıÂÓ ·˘ÙÔ‡ Î·È ‰È·‰Ú¿ÌÔ˘Û·Ó ÔÏfiÎÏËÚÔÓ ÙËÓ ·Ú·Ï›·Ó Ù˘ fiψ˜, 24.10.1962
An interchange of the Macedonian capital, where Nikis Avenue leads to the White Tower Square, passing in front of the tower and running the whole waterfront of the city, 24.10.1962
™˘Ì‚ÔÏ‹ ÙˆÓ Ô‰ÒÓ μ·ÛÈϤˆ˜ °ÂˆÚÁ›Ô˘ Î·È ¢ÂÛÂÚ¤, 1962 (·)
∏ Ï‹„Ë ¤ÁÈÓ ÚÔ˜ ÙËÓ Ô‰fi μ·ÛÈϤˆ˜ °ÂˆÚÁ›Ô˘. ∏ ÂÈÎfiÓ· ÍÂÓ›˙ÂÈ ÙÔÓ ÛËÌÂÚÈÓfi £ÂÛÛ·ÏÔÓÈΤ·, ‰ÈfiÙÈ Ë ˘Ô¯ÚˆÙÈ΋ ΢ÎÏÈ΋ ÔÚ›· ÛÙË ‰È·ÛÙ·‡ÚˆÛË ·˘Ù‹ ¤¯ÂÈ Î·Ù·ÚÁËı› ÚÔ ÂÙÒÓ, ÂÓÒ ÙÔ ÎÙ›ÚÈÔ ÙÔ˘ ø‰Â›Ô˘ (ÛÙ· ‰ÂÍÈ¿ Ù˘ ÂÈÎfiÓ·˜, Ì fi„Ë ÚÔ˜ ÙÔ Ê·Îfi) ¤¯ÂÈ Î·Ù‰·ÊÈÛÙ›, fiˆ˜ Î·È Ù· ¿ÏÏ· ÎÙ›ÚÈ· ›Ûˆ ÙÔ˘. ŒÙÛÈ, ÙÔ ÙÔ›Ô ¿ÏÏ·Í ÚÈ˙Èο. ™Ù· ‰ÂÍÈ¿ ÙÔ˘ ʈÙÔÁÚ¿ÊÔ˘ ‚ÚÈÛÎfiÙ·Ó ÙÔ ÛÙÚ·ÙfiÂ‰Ô ΔÛÈÚÔÁÈ¿ÓÓË (fiÔ˘ ÙÒÚ· ·ÓÂÁ›ÚÂÙ·È ‰Ë̷گȷÎfi ̤Á·ÚÔ), ÂÓÒ ÛÙ· ·ÚÈÛÙÂÚ¿ ÙÔ˘ ÙÔ ÎÙ›ÚÈÔ Ù˘ ËÏÂÎÙÚÈ΋˜ ÂÙ·ÈÚ›·˜ (ÙÒÚ· ÙÔ ¯ÒÚÔ Î·Ù·Ï·Ì‚¿ÓÂÈ Ï˘fiÌÂÓÔ Û¯ÔÏ›Ô). ¶ÈÔ ·ÚÈÛÙÂÚ¿, ‚Ú›ÛÎÂÙ·È Ë Ó¤· ·Ú·Ï›·. ™‡Ìʈӷ Ì ÙË ÛËÌ›ˆÛË, Ë Ï‹„Ë ¤ÁÈÓ ΔÂÙ¿ÚÙË ÌÂÛË̤ÚÈ, ÂÚÁ¿ÛÈÌË Ë̤ڷ. ∂ÈÎÚ·Ù› Î·È Â‰Ò Ë ·›ÛıËÛË Ù˘ ÎÂÓ‹˜ fiÏ˘.
The crossroads of Vassileos Gheorgiou and Despere streets, 1962 (a)
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.
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11.1.1962. ∫˘ÎÏÔÊÔÚÈ·Îfi˜ ÎfiÌ‚Ô˜
11.1.1962. An interchange
™˘Ì‚ÔÏ‹ ÙˆÓ Ô‰ÒÓ μ·ÛÈϤˆ˜ °ÂˆÚÁ›Ô˘ Î·È ¢ÂÛÂÚ¤, 1962 (‚)
∏ Ï‹„Ë ¤ÁÈÓ ÂÚ›Ô˘ ·fi ÙÔ ›‰ÈÔ ÛËÌ›Ô, ·ÂÈÎÔÓ›˙ÔÓÙ·˜ ÙËÓ ›‰È· ˘Ô¯ÚˆÙÈ΋ ΢ÎÏÈ΋ ÔÚ›·, ·ÏÏ¿ Ô Ê·Îfi˜ ¤¯ÂÈ ÛÙÚ·Ê› ÚÔ˜ ÙËÓ Ô‰fi ¢ÂÛÂÚ¤. ∞ÔηχÙÂÈ ¤ÙÛÈ ÙÔ ÎÙ›ÚÈÔ Ù˘ Ã∞¡£ (Ì ÙÔ Î·Ì·Ó·ÚÈfi Ì ÙÔÓ ÙÚÔ‡ÏÔ), ÙËÓ Ô‰fi ∞ÁÁÂÏ¿ÎË Î·È ÙË ¢ÈÂıÓ‹ ŒÎıÂÛË £ÂÛÛ·ÏÔӛ΢. ™Ù· ‰ÂÍÈ¿, Û ÚÒÙÔ Ï¿ÓÔ, ÙÔ ÂÚÈÙ›¯ÈÛÌ· ÙÔ˘ ÛÙÚ·ÙÔ¤‰Ô˘ ΔÛÈÚÔÁÈ¿ÓÓË Î·È ÙÔ «™ÙÚ·ÙȈÙÈÎfi £¤·ÙÚÔ» (¤¯ÂÈ Î·Ù‰·ÊÈÛÙ›). √˘ÛÈ·ÛÙÈο, Ô ÊˆÙÔÁÚ¿ÊÔ˜ ¤¯ÂÈ Û˘ÏÏ¿‚ÂÈ ÛÙÔ Ê·Îfi ÙÔ˘ ÙËÓ ·Ï·È¿ fiÏË (ÛÙÔ˘˜ ÏfiÊÔ˘˜) Î·È ÙË ‰˘ÙÈ΋ ÏÂ˘Ú¿ Ù˘ ÓÂfiÙÂÚ˘ fiÏ˘.
The crossroads of Vassileos Gheorgiou and Despere streets, 1962 (b)
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.
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¶Ï·Ù›· §Â˘ÎÔ‡ ¶‡ÚÁÔ˘, ÂÚ› ÙÔ 1970
∞fi ÙËÓ ·ÌÊ›ÂÛË ÙˆÓ ÂÈÎÔÓÈ˙fiÌÂÓˆÓ Ê·›ÓÂÙ·È fiÙÈ Ë Ï‹„Ë ¤¯ÂÈ Ú·ÁÌ·ÙÔÔÈËı› ηÏÔη›ÚÈ. ™ÙÔ ‰ÂÍÈfi ̤ÚÔ˜ Ù˘ Ï·Ù›·˜ Á›ÓÔÓÙ·È ¤ÚÁ· Î·È ¤¯ÂÈ ÌfiÏȘ ·Ó·Óˆı› Ô ·ÛÊ·ÏÙÔÙ¿ËÙ·˜ Ù˘ Ô‰Ô‡ μ·ÛÈϤˆ˜ °ÂˆÚÁ›Ô˘, ÌÚÔÛÙ¿ ·fi ÙÔ μ·ÛÈÏÈÎfi £¤·ÙÚÔ (‰ÂÍÈ¿). ŒÙÛÈ, Ë ÌÈÎÚ‹ ΢ÎÏÔÊÔÚ›· ‰ÈÔ¯ÂÙ‡ÂÙ·È –Ì ··ÁÔÚ¢ÙÈÎfi Û‹Ì· Î·È ÙÚÔ¯ÔÓfiÌÔ˘˜ÚÔ˜ ÙËÓ Ô‰fi ¡ÈÎÔÏ¿Ô˘ °ÂÚÌ·ÓÔ‡ (·ÚÈÛÙÂÚ¿). ΔÔ ÎÙ›ÚÈÔ ÙÔ˘ ø‰Â›Ô˘ (ÛÙÔ Î¤ÓÙÚÔ Î·È ÚÔ˜ Ù· ¿Óˆ ·ÚÈÛÙÂÚ¿) ‰ÂÓ ¤¯ÂÈ Î·Ù‰·ÊÈÛÙ› ·ÎfiÌË, Ô‡Ù fï˜ Î·È ÙÔ ÔÏ˘ÒÚÔÊÔ ÍÂÓÔ‰Ô¯Â›Ô ÛÙÔ ‚¿ıÔ˜ (Ó˘Ó «ª·Î‰ÔÓ›· ¶·ÏÏ¿˜») ¤¯ÂÈ ÔÏÔÎÏËÚˆı›. ™ÙËÓ ÎÔÚ˘Ê‹ ÙÔ˘ ‡ÚÁÔ˘ ÏÂÈÙÔ˘ÚÁ› ·Ó·„˘ÎÙ‹ÚÈÔ. ™Â Û˘Ó‰˘·ÛÌfi Ì ÙÔ˘˜ Ù‡Ô˘˜ ÙˆÓ Ô¯ËÌ¿ÙˆÓ, Ë Ï‹„Ë ÌÔÚ› Ó· ¯ÚÔÓÔÏÔÁËı› Á‡Úˆ ÛÙ· 1970 ‹ 1971.
The White Tower Square, around 1970
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 multistorey 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.
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¶·Ú¤Ï·ÛȘ ÙÌËÌ¿ÙˆÓ μ.¡. ÚÔ ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘ ÂȘ £ÂÛÛ·ÏÔÓ›ÎËÓ
A parade of the Navy in front of the White Tower, at Thessaloniki
¡·˘ÙÈ΋ Ì¿ÓÙ· ÛÙÔ §Â˘Îfi ¶‡ÚÁÔ, ‰ÂηÂÙ›· 1960
√È ÌÂÁ¿Ï˜ ÔÌÔÈfiÙËÙ˜ –·ÎfiÌË Î·È ÛÙË ‚Ï¿ÛÙËÛË-Ì ÙËÓ ÂfiÌÂÓË ÊˆÙÔÁÚ·Ê›·, ÚÔÛ‰ÈÔÚ›˙Ô˘Ó ¯ÚÔÓÔÏÔÁÈο ÙË Ï‹„Ë. √È Ó·˘ÙÈΤ˜ ÛÙÔϤ˜ Â›Ó·È ıÂÚÈÓ¤˜. ¢ÂÓ Ê·›ÓÂÙ·È Ó· ˘¿Ú¯Ô˘Ó ·Ú·ÙËÚËÙ¤˜, Ú¿ÁÌ· ÂÚ›ÂÚÁÔ ÁÈ· Ó·˘ÙÈ΋ ·Ú¤Ï·ÛË, ·ÎfiÌË Î·È ÁÈ· ‰È¤Ï¢ÛË Ì¿ÓÙ·˜, ηٿ ÙË ‰ÂηÂÙ›· ÙÔ˘ 1960.
The Navy band at the White Tower, 1960s
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.
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13 ª·ÚÙ›Ô˘ 1969
13 March 1969
§Â˘Îfi˜ ¶‡ÚÁÔ˜, 1969 (;)
∏ Û˘Ó‹ı˘ fi„Ë Ù˘ ÂÚÈÔ¯‹˜ ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘ ÛÙË ‰ÂηÂÙ›· ÙÔ˘ 1960. √È ÂÓ‰˘Ì·Û›Â˜ (Î·È Ë ·Ú¤· Ô˘ „·Ú‡ÂÈ ÛÙ· ‰ÂÍÈ¿) Ì·ÚÙ˘ÚÔ‡Ó Î¿ˆ˜ ÚÔÁÂÓ¤ÛÙÂÚË ¯ÚÔÓÔÏÔÁ›· Î·È ÔˆÛ‰‹ÔÙ (fiÏÔÈ ÊÔÚ¿ÓÂ Ô˘Î¿ÌÈÛÔ) ÈÔ Î·ÏÔηÈÚÈÓfi ηÈÚfi. ∫¿Ùˆ ·fi ÙÔÓ ‡ÚÁÔ Â›Ó·È Û˘ÁÎÂÓÙڈ̤ÓÔÈ ÔÈ ˘·›ıÚÈÔÈ ÊˆÙÔÁÚ¿ÊÔÈ ÙÔ˘. ™ÙË ‰ÂηÂÙ›· ÙÔ˘ 1950 ›¯·Ó ÊÙ¿ÛÂÈ ÙÔ˘˜ 17 (ÛÙË Û˘ÁÎÂÎÚÈ̤ÓË Ï‹„Ë ·ÂÈÎÔÓ›˙ÔÓÙ·È Ù¤ÛÛÂÚȘ, ·ÏÏ¿ ‰ÂÓ Ê·›ÓÔÓÙ·Ó fiÛÔÈ Â›Ó·È Ì¤Û· ÛÙÔ ¿ÚÎÔ). √ ÂÚ›·ÙÔ˜ ÚÔ˜ ÙÔ §Â˘Îfi ¶‡ÚÁÔ ‹Ù·Ó Ù˘È΋ Û˘Ó‹ıÂÈ· ÙˆÓ £ÂÛÛ·ÏÔÓÈΤˆÓ ̤¯ÚÈ ·ÎfiÌË ÙË ‰ÂηÂÙ›· ÙÔ˘ 1970. Ÿˆ˜ ‰Â›¯ÓÂÈ Ô fiÁÎÔ˜ ÙˆÓ È‰ÈˆÙÈÎÒÓ ÊˆÙÔÁÚ·ÊÈÒÓ Ô˘ ηٷϋÁÔ˘Ó ÛÙ· ·Ï·ÈԈϛ·, Ë ÊˆÙÔÁÚ¿ÊËÛË ÌÚÔÛÙ¿ ÛÙÔ §Â˘Îfi ¶‡ÚÁÔ ‹Ù·Ó Ôχ Û˘ÓËıÈṲ̂ÓË ·fi ÙËÓ ÂÔ¯‹ ÙÔ˘ ÌÂÛÔÔϤÌÔ˘ ̤¯ÚÈ ÙËÓ Î·Ù¿ÚÁËÛË ÙˆÓ ÂÚÈ¿ÙˆÓ.
The White Tower, 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.
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∏ ·Ú¿ ÙÔÓ §Â˘ÎfiÓ ¶‡ÚÁÔÓ Ï·Ù›· Ù˘ fiψ˜, ÚˆÙ¢ԇÛ˘ ÙÔ˘ μÔÚ›Ԣ ÂÏÏËÓÈÎÔ‡ ÙÌ‹Ì·ÙÔ˜, 1.3.1963
The Square located by the White Tower, at the capital city of Northern Greece, 1.3.1963
∏ Û˘Ì‚ÔÏ‹ ÙˆÓ Ô‰ÒÓ ¶·‡ÏÔ˘ ªÂÏ¿ Î·È ΔÛÈÚÔÁÈ¿ÓÓË, 1963
∏ Ï‹„Ë ¤ÁÈÓ ·fi ÙËÓ ÎÔÚ˘Ê‹ ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘. ∏ ÁˆÓȷ΋ (ÛÙ· ‰ÂÍÈ¿) ÔÈÎÔ‰ÔÌ‹ (Ô˘ ·ÓÙÈη٤ÛÙËÛ ÙÔ 1960 ÎÙ›ÛÌ· Ù˘ ÙÔ˘ÚÎÔÎÚ·Ù›·˜) ÙÂÏÂÈÒÓÂÈ. ¢›Ï· Ù˘, ÛÙÔ ÈÛfiÁÂÈÔ, Ë Ù·‚¤ÚÓ· «μÏ¿¯Ô˜». ™ÙËÓ ·¤Ó·ÓÙÈ ÁˆÓ›·, ÙÔ «∫·ÊÂÓÂ›Ô ÙˆÓ Î˘ÓËÁÒÓ». ™ÙÔ ‚¿ıÔ˜, Ô ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˜ «∏χÛÈ·» (› Ù˘ ¶·‡ÏÔ˘ ªÂÏ¿). ∏ Ô‰fi˜ ·˘Ù‹ ۯ‰ȿÛÙËΠˆ˜ Ì›· ·fi ÙȘ «‰È·ÁˆÓ›Ô˘˜» ÙÔ˘ Ó¤Ô˘ ÔÏÂÔ‰ÔÌÈÎÔ‡ ۯ‰›Ô˘. ™˘Ó¤‰ÂÛ ÙÔ §Â˘Îfi ¶‡ÚÁÔ Ì ÙËÓ ∞Á›· ™ÔÊ›· (‰‡Ô ‚·ÛÈο ÌÓËÌ›· Ù˘ fiÏ˘) Î·È ‰ËÌÈÔ‡ÚÁËÛ ÌÈ· ‰˘Ó·ÙfiÙËÙ· ΢ÎÏÔÊÔÚȷ΋˜ ·Ó·ÎÔ‡ÊÈÛ˘ ÙˆÓ ·Ú¿ÏÏËÏˆÓ ÚÔ˜ ÙË ı¿Ï·ÛÛ· ·ÚÙËÚÈÒÓ.
The crossroads of Pavlou Mela and Tsirogianni streets, 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.
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∏ Û˘Ì‚ÔÏ‹ ÙˆÓ Ô‰ÒÓ ¶·‡ÏÔ˘ ªÂÏ¿ Î·È ΔÛÈÚÔÁÈ¿ÓÓË, 1963 (;)
∏ Ï‹„Ë Â›Ó·È Û¯Â‰fiÓ ›‰È· Ì ÙËÓ ÚÔËÁÔ‡ÌÂÓË. ∞ÏÏ¿ ÛÙÚ¤ÊÔÓÙ·˜ ÙÔ Ê·Îfi ÂÚ›Ô˘ 10 ÌÔ›Ú˜ ÚÔ˜ Ù· ‰ÂÍÈ¿ ÙÔ˘, Ô ÊˆÙÔÁÚ¿ÊÔ˜ ·ÔÙ‡ˆÛ ÙȘ ÔÈÎÔ‰Ô̤˜ ·¤Ó·ÓÙÈ ·fi ÙÔ §Â˘Îfi ¶‡ÚÁÔ, Ì ›ÎÂÓÙÚÔ ÙÔ Î·Ê¤ «¡ÙÔÚ¤» (ÛÙË ÁˆÓ›· ‰ÂÍÈ¿). ∏ Ô‰fi˜ ¶·‡ÏÔ˘ ªÂÏ¿ ‰È·ÎÚ›ÓÂÙ·È Û ÌÂÁ·Ï‡ÙÂÚÔ ‚¿ıÔ˜. ∏ ÌfiÓË ‰È·ÊÔÚ¿ Ì ÙËÓ ÚÔËÁÔ‡ÌÂÓË ÊˆÙÔÁÚ·Ê›· (ÂÎÙfi˜ ·fi ÙÔ ¿ÛÚÔ ·˘ÙÔΛÓËÙÔ ÌÚÔÛÙ¿ ÛÙËÓ Ù·‚¤ÚÓ· Ô˘ ¤¯ÂÈ ÌÂÙ·ÎÈÓËı›) Â›Ó·È ÙÔ Ì¤ÁÂıÔ˜ ÙÔ˘ ı¿ÌÓÔ˘, ÛÙÔ ·ÚÈÛÙÂÚfi ÙÌ‹Ì· Ù˘ ʈÙÔÁÚ·Ê›·. ∏ ‰È·ÊÔÚ¿ ·˘Ù‹ ÚÔ‰›‰ÂÈ fiÙÈ Ë Ï‹„Ë ‰ÂÓ ¤ÁÈÓ ÙËÓ ›‰È· ̤ڷ, ·ÏÏ¿ ·ÚÁfiÙÂÚ·.
The crossroads of Pavlou Mela and Tsirogianni streets, 1963 (;)
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.
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ΔÔ 1925, ÌfiÏȘ 13 ¯ÚfiÓÈ· ÌÂÙ¿ ÙËÓ ·ÂÏ¢ı¤ÚˆÛË Ù˘ £ÂÛÛ·ÏÔӛ΢, ˘fi Û˘Óı‹Î˜ Ù·¯Â›·˜ ‰È·ÊÔÚÔÔ›ËÛ˘ ÛÙË Û‡ÓıÂÛË ÙÔ˘ ÏËı˘ÛÌÔ‡ Ù˘ (ۇ̂·ÛË ·ÓÙ·ÏÏ·Á‹˜ ÏËı˘ÛÌÒÓ) Î·È ÙÔ˘ ÚfiÏÔ˘ Ù˘ ÛÙË ÓfiÙÈ· μ·ÏηÓÈ΋ (ÏfiÁˆ Ù˘ ·ÏÏ·Á‹˜ ÙˆÓ Û˘ÓfiÚˆÓ), Ë fiÏË ·¤ıÂÛ ÙȘ ÂÏ›‰Â˜ Ù˘ ÁÈ· ÙÔ Ì¤ÏÏÔÓ Û ‰‡Ô Ó¤Ô˘˜ ıÂÛÌÔ‡˜ Ô˘ ‰ËÌÈÔ˘ÚÁ‹ıËÎ·Ó ÙÔ ¤ÙÔ˜ ÂΛÓÔ: ΔË ¢ÈÂıÓ‹ ŒÎıÂÛË £ÂÛÛ·ÏÔӛ΢ (¢∂£) Î·È ÙÔ ¶·ÓÂÈÛÙ‹ÌÈÔ £ÂÛÛ·ÏÔӛ΢ (Ô˘ ÙÔ 1954 ÌÂÙÔÓÔÌ¿ÛÙËΠ۠∞ÚÈÛÙÔÙ¤ÏÂÈÔ (∞¶£). ΔÔ ¶·ÓÂÈÛÙ‹ÌÈÔ ÏÂÈÙÔ‡ÚÁËÛ ÙËÓ ÚÒÙË ¯ÚÔÓÈ¿ Ì 27 ÊÔÈÙËÙ¤˜. √Á‰fiÓÙ· ¯ÚfiÓÈ· ÌÂÙ¿ ›¯Â 70.000. ΔËÓ ŒÎıÂÛË ÔÏÏÔ› ÙËÓ ıÂÒÚËÛ·Ó ˆ˜ ·ÙfiËÌ·. ∞ԉ›¯ıËÎÂ Ô Ì·ÎÚÔ‚ÈfiÙÂÚÔ˜ ÔÈÎÔÓÔÌÈÎfi˜ ıÂÛÌfi˜ Ù˘ μfiÚÂÈ·˜ ∂ÏÏ¿‰·˜. ∫·È Ù· ‰‡Ô Ó¤· ȉڇ̷ٷ ÛÙÂÁ¿ÛÙËÎ·Ó ÛÙÔ ÌÔÓ·‰ÈÎfi ‰È·ı¤ÛÈÌÔ ¯ÒÚÔ Ù˘ fiÏ˘, ÂΛÓÔÓ Ô˘ ÛÙ·‰È·Î¿ ·ÂÏ¢ıÂÚÒıËΠ·fi ÙËÓ ÎÔÈÌËÙËÚȷ΋ ¯Ú‹ÛË. ∫¿ÔÙÂ, ÔÈ ÂÎÙ¿ÛÂȘ Ô˘ η٤Ϸ‚·Ó Ë ¢∂£ Î·È ÙÔ ∞¶£ ‚Ú›ÛÎÔÓÙ·Ó ÂÎÙfi˜ ÙˆÓ ÙÂȯÒÓ Î·È ¯ÚËÛÈÌÔÔÈ‹ıËÎ·Ó ˆ˜ ÎÔÈÌËÙ‹ÚÈ·, ‰È·‰Ô¯Èο ηٿ ÙË ÚˆÌ·˚΋, ÚˆÙÔ¯ÚÈÛÙÈ·ÓÈ΋, ‚˘˙·ÓÙÈÓ‹ Î·È ÔıˆÌ·ÓÈ΋ ÂÚ›Ô‰Ô. ªÂ Ù· Ó¤· ÔÏÂÔ‰ÔÌÈο Û¯¤‰È· Î·È ÙËÓ ·ÏÏ·Á‹ ÛÙË Û‡ÓıÂÛË ÙÔ˘ ÏËı˘ÛÌÔ‡, ÔÈ ¯ÒÚÔÈ ·˘ÙÔ› ÛÙ·‰È·Î¿ –Û ‰È¿ÛÙËÌ· ‰ÂηÂÙÈÒÓ- ·Ô‰ÂÛ̇ÙËÎ·Ó Î·È ·ÊÈÂÚÒıËÎ·Ó ÛÙȘ Ӥ˜ ¯Ú‹ÛÂȘ. ∫·ıÒ˜ Ù· ÎÙÈÚȷο ÚÔÁÚ¿ÌÌ·Ù· ÙˆÓ ‰‡Ô È‰Ú˘Ì¿ÙˆÓ ÚÔ¯ˆÚÔ‡Û·Ó, ȉȷ›ÙÂÚ· ÌÂÙ¿ ÙÔ 1950, Ë ÛÙ·‰È·Î‹ ηٿÏË„Ë ÙÔ˘ ¯ÒÚÔ˘ ÚÔÛʤÚÔÓÙ·Ó ÁÈ· ʈÙÔÁÚ¿ÊËÛË. ∞˘Ù‹ ηı’ ·˘Ù‹ Ë ¢∂£, ‚¤‚·È·, ·ÔÙ¤ÏÂÛ ·˘ÙfiÓÔÌÔ ·ÓÙÈΛÌÂÓÔ ·ÂÈÎfiÓÈÛ˘ ·fi ÙËÓ ÚÒÙË Ì¤Ú· Ù˘ ‡·ÚÍ‹˜ Ù˘. ŒÙÛÈ, ÙÔ Û˘Ó·Ê¤˜ ʈÙÔÁÚ·ÊÈÎfi (Î·È ¯·ÚÙÔÁÚ·ÊÈÎfi) ˘ÏÈÎfi Ô˘ Û˘ÛÛˆÚ‡ÙËÎÂ Â›Ó·È ÔÁÎ҉˜. √È 17 ʈÙÔÁڷʛ˜ ·fi ÙÔ ·Ú¯Â›Ô Ù˘ °ÂÓÈ΋˜ °Ú·ÌÌ·Ù›·˜ ∂ÈÎÔÈÓˆÓ›·˜ Î·È Ù˘ °ÂÓÈ΋˜ °Ú·ÌÌ·Ù›·˜ ∂ÓË̤ڈÛ˘ ‰È·ÌÔÚÊÒÓÔ˘Ó ¤Ó· ÈηÓÔÔÈËÙÈÎfi ÔÙÈÎfi ·Ê‹ÁËÌ· ÁÈ· ÙÔ Û¯ËÌ·ÙÈÛÌfi ÙˆÓ ‰‡Ô «fiψӻ Ô˘ ·ÔÙÂÏÔ‡Ó ¯·Ú·ÎÙËÚÈÛÙÈÎfi Î·È Úԛη Ù˘ £ÂÛÛ·ÏÔӛ΢.
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In 1925, only 13 years after the liberation of Thessaloniki, under the existing conditions of fast population divergence (the population exchange Treaty) and its role in the South Balkan area (due to the change of borders), the city put its future hopes on two new institutions established that year: The Thessaloniki International Fair (¢∂£) and the University of Thessaloniki [which in 1954 was renamed as Aristotle University of Thessaloniki (∞¶£)]. In the first year of its operation, the University had only 27 students. Eighty years later it had 70.000 students. The Fair was considered by many people as an absurdity. It was proved to be the longest lasting institution in Northern Greece. Both these new institutes were established in the only land available within the city, replacing gradually the cemeteries that had previously been there. The land on which the Thessaloniki International Fair and the Aristotle University of Thessaloniki have been established, once have been outside the walls and were used as cemeteries, during the roman, the early Christian, the Byzantine and the ottoman period, successively. After the new urban planning and the change in population, this land had gradually – within some decades – been released and devoted to new usages. As the construction of these two projects advanced, especially after 1950, the gradual taking up of the land was ideal for taking photographs. Of course, the Thessaloniki International Fair itself has been an autonomous theme for photography from the very first day of its existence. Thus, the relevant photographic (as well as cartographic) material accumulated is voluminous. The 17 photographs from the archive of the Secretariat General of Communication – Secretariat General of Information create a satisfactory visual narration concerning the shaping of these two "towns" which constitute a characteristic feature as well as the dowry of Thessaloniki.
UNIVERSITY
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¢ÈÂıÓ‹˜ ŒÎıÂÛË £ÂÛÛ·ÏÔӛ΢ (1931)
The Thessaloniki International Fair (1931)
∏ ·Ï·È¿ ¢∂£ ÛÙÔ ¶Â‰›Ô ÙÔ˘ ÕÚˆ˜ (1931)
√È ÚÒÙ˜ 14 ‰ÈÔÚÁ·ÓÒÛÂȘ Ù˘ ¢∂£ (1926-1939) Ú·ÁÌ·ÙÔÔÈ‹ıËÎ·Ó ÛÙÔ ¶Â‰›Ô ÙÔ˘ ÕÚˆ˜, ÙÔ ÔÔ›Ô ·Ú·¯ÒÚËÛ·Ó ÔÈ ¤ÓÔϘ ‰˘Ó¿ÌÂȘ (ÂΛ ÙÒÚ· Ú·ÁÌ·ÙÔÔÈÔ‡ÓÙ·È ÔÈ «·ÓıÔÂÎı¤ÛÂȘ»). √ ¯ÒÚÔ˜ ‹Ù·Ó 38 ÛÙÚ¤ÌÌ·Ù· ÂÚ›Ô˘, ÏÈÁfiÙÂÚÔ ·fi ÙÔ ¤Ó· ٤ٷÚÙÔ Ù˘ ÛËÌÂÚÈÓ‹˜ ¤ÎÙ·Û˘ Ù˘ ¢∂£. ∞ÚıÚˆÓfiÙ·Ó Á‡Úˆ ·fi ¤Ó· ÎÂÓÙÚÈÎfi ‰È¿‰ÚÔÌÔ, Ë Â›ÛÔ‰Ô˜ ÙÔ˘ ÔÔ›Ô˘ ‚ÚÈÛÎfiÙ·Ó ÛÙË ÛËÌÂÚÈÓ‹ Ô‰fi μ·ÛÈϤˆ˜ °ÂˆÚÁ›Ô˘ Î·È Ë ¤ÍÔ‰Ô˜ ÛÙË §ÂˆÊfiÚÔ ™ÙÚ·ÙÔ‡ (ÛÙÔ ‚¿ıÔ˜ Ê·›ÓÂÙ·È ÙÔ °ã ™ÒÌ· ™ÙÚ·ÙÔ‡). ∞fi ÙËÓ ·ÚÈÛÙÂÚ‹ ÏÂ˘Ú¿ ·ÏÒÓÔÓÙ·Ó Ù· ȉȈÙÈο ÂÚ›ÙÂÚ· Î·È ·fi ÙË ‰ÂÍÈ¿ Ù· ‰ËÌfiÛÈ·. ªÂÙ¿ ÙËÓ ·ÁÎfiÛÌÈ· ÔÈÎÔÓÔÌÈ΋ ÎÚ›ÛË (1929) Ô ‰ÈÂıÓ‹˜ ¯·Ú·ÎÙ‹Ú·˜ Ù˘ ¢∂£ ‰ÔÎÈÌ¿ÛÙËÎÂ, ·ÏÏ¿ Ô ıÂÛÌfi˜ ÂÈ‚›ˆÛÂ.
The old Thessaloniki International Fair at Pedio tou Areos (i.e. Mars’s field) (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.
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The south entrance of the Thessaloniki International Fair
¢ÈÂıÓ‹˜ ŒÎıÂÛË £ÂÛÛ·ÏÔӛ΢ (1951)
ΔÔ 1940 Ë ¢∂£ η٤Ϸ‚ ÙÌ‹Ì· ÙÔ˘ ÛËÌÂÚÈÓÔ‡ ¯ÒÚÔ˘ Ù˘ ÎÈ ÂΛ ÏÂÈÙÔ‡ÚÁËÛÂ. ∏ 15Ë ¢∂£ ‰È·ÎfiËΠ·fi ÙËÓ ÂÈÛ‚ÔÏ‹ ÙˆÓ πÙ·ÏÒÓ. ∞ÎÔÏÔ‡ıËÛÂ Ô fiÏÂÌÔ˜, Ë Î·ÙÔ¯‹ Î·È Ë ‰‡ÛÎÔÏË ÂÚ›Ô‰Ô˜ ÌÂÙ¿ ÙÔÓ fiÏÂÌÔ. ∏ ŒÎıÂÛË Â·Ó·ÏÂÈÙÔ‡ÚÁËÛ ÙÔ 1951. ∏ ÂÈÎÔÓÈ˙fiÌÂÓË Â›ÛÔ‰Ô˜ ‚ÚÈÛÎfiÙ·Ó ¿Óˆ ÛÙË §ÂˆÊfiÚÔ ™ÙÚ·ÙÔ‡ Î·È Û˘ÁÎÂÎÚÈ̤ӷ ÛÙÔ Î·Ù·ÚÁËı¤Ó ÙÌ‹Ì· Ù˘ ·fi ÙÔ ÛÙÚ·ÙȈÙÈÎfi Ó·fi ÙÔ˘ ∞Á›Ô˘ ∫ˆÓÛÙ·ÓÙ›ÓÔ˘ ̤¯ÚÈ ÙÔ ™ÈÓÙÚÈ‚¿ÓÈ. ΔÔ ÙÌ‹Ì· ·˘Ùfi ÙÔ˘ ‰ÚfiÌÔ˘ ÂÓۈ̷ÙÒıËΠÛÙÔ ¯ÒÚÔ Ù˘ ¢∂£ ÙÔ 1960, Ì·˙› Ì ÌÈ· ψڛ‰· Á˘ ÛÙ· ÓfiÙÈ· ÙÔ˘. ∞Ó¿ÌÂÛ· ÛÙËÓ ÂÈÎÔÓÈ˙fiÌÂÓË Â›ÛÔ‰Ô Î·È ÙË ÛËÌÂÚÈÓ‹ Ï·Ù›· Ù˘ Ã∞¡£ ˘‹Ú¯Â ÎÂÓ‹ ¤ÎÙ·ÛË, Ô˘ ¯ÚËÛÈÌÔÔÈÔ‡Ù·Ó ÁÈ· ÙË ÛÙ¿ıÌ¢ÛË ÙˆÓ ·˘ÙÔÎÈÓ‹ÙˆÓ ÙˆÓ ÂÈÛÎÂÙÒÓ.
The Thessaloniki International Fair (1951)
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 postwar 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.
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¶ÚÔ‚ÔÏ‹ ΢‚ÂÚÓËÙÈÎÔ‡ ¤ÚÁÔ˘ (1960)
™ÙÔ ÎÂÓÙÚÈÎfi ÂÚ›ÙÂÚÔ Ù˘ ¢∂£, ÙÔ ¶ÂÚ›ÙÂÚÔ ∂ıÓÈ΋˜ ¶·Ú·ÁˆÁ‹˜, Ô˘ ηÙ‰·Ê›ÛÙËΠÙÔ 1960 ÁÈ· Ó· ·ÓÂÁÂÚı› ÙÔ ÎÏÂÈÛÙfi Á‹Â‰Ô (¶·Ï¤ ÓÙ ™ÔÚ), ·ÚÔ˘ÛÈ¿˙ÔÓÙ·Ó Î·Ù¿ ·Ú¿‰ÔÛË Ë ÁˆÚÁÈ΋ ·Ú·ÁˆÁ‹. ◊‰Ë, fï˜, ÛÙ· Ù¤ÏË Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 1950 Ë ·Ó¿ÁÎË ÁÈ· ÙËÓ ÚÔ‚ÔÏ‹ ÙˆÓ ·ÁÚÔÙÈÎÒÓ ÚÔ˚fiÓÙˆÓ Ù˘ ÂÚÈʤÚÂÈ·˜ ›¯Â ϤÔÓ ·Ì‚Ï˘Óı›. ŒÙÛÈ, ÛÙÔ ÈÛfiÁÂÈÔ ÙÔ˘ ÂÚÈÙ¤ÚÔ˘, Ô˘ ·ÔÙÂÏÔ‡Û «ÙËÓ ÙÂÏÂ˘Ù·›·Ó ϤÍÈÓ ·fi ·fi„ˆ˜ Ù¯ÓÈ΋˜», ÚÔ‚Ï‹ıËΠ–ηٿ ÙÔ ÙÂÏÂ˘Ù·›Ô ¤ÙÔ˜ Ù˘ ÏÂÈÙÔ˘ÚÁ›·˜ ÙÔ˘- ÙÔ Î˘‚ÂÚÓËÙÈÎfi ¤ÚÁÔ Ù˘ ÂÚÈfi‰Ô˘ 1955-1960. «∏ ÚÔ‚ÔÏ‹ ·˘Ù‹ ÂÈÙ˘Á¯¿ÓÂÙ·È Î·Ù¿ Ì›·Ó ‰È·ÎÚÈÙÈÎ‹Ó Î·È ÔÚıÔÏÔÁÈÎ‹Ó ÛÂÈÚ¿Ó Ì ·ÚÈÔÓ ¯·Ú·ÎÙËÚÈÛÙÈÎfiÓ: ∏ ∂ÏÏ¿˜ Ù˘ Ãı˜, Ë ∂ÏÏ¿˜ Ù˘ ™‹ÌÂÚÔÓ, Ë ∂ÏÏ¿˜ Ù˘ ∞‡ÚÈÔÓ», ÛËÌÂÈÒÓÂÈ Ô‰ËÁfi˜ Ù˘ ÂÔ¯‹˜. ∏ ̤ıÔ‰Ô˜ Ù˘ «ÚÔ‚ÔÏ‹˜ ÙˆÓ ¿Û˘ ʇÛˆ˜ ÂÎıÂÌ¿ÙˆÓ» ‹Ù·Ó «Ó¤·»: «…Û˘ÌÏËÚÔ‡Ù·È ÌÂ Û˘Á¯ÚÔÓÈÛÌfiÓ Î·È ÂÓ·ÚÌfiÓÈÛÈÓ ‹¯Ô˘». Δ· ÛηÏÔ¿ÙÈ· ›¯·Ó ·Ê·ÈÚÂı› Î·È ÙÔÔıÂÙ‹ıËÎ·Ó Ú¿Ì˜, ÂÓÒ ÌÂÁ¿Ï˜ ÂÈÙÔ›¯È˜ ˙ˆÁÚ·ÊÈΤ˜ Û˘Óı¤ÛÂȘ Î¿Ï˘Ù·Ó ÙÔ ÂÛˆÙÂÚÈÎfi ÙËÓ ÚfiÛÔ„‹ ÙÔ˘ ÎÙÈÚ›Ô˘, Ô˘ ÌÂÙ¿ ·fi ÌÂÚÈÎÔ‡˜ Ì‹Ó˜ ηÙ‰·Ê›ÛÙËÎÂ. √È ‰‡Ô ʈÙÔÁڷʛ˜ ÂÌÊ·Ó›˙Ô˘Ó ÙÔÓ ÙÚfiÔ Ì ÙÔÓ ÔÔ›Ô ·ÚÔ˘ÛÈ¿ÛÙËÎ·Ó Ù· ÂÈÙ‡ÁÌ·Ù· ÛÙË Ú·‰ÈÔʈӛ· Î·È ÙËÓ Âη›‰Â˘ÛË.
Presentation of the government’s acts (1960)
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.
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¢ÈÂıÓ‹˜ ŒÎıÂÛË £ÂÛÛ·ÏÔӛ΢, 1964
∞Ó¿ÌÂÛ· ÛÙË Ó¤· Ô‰fi ∞ÁÁÂÏ¿ÎË (Ì Ӥ· ÙfiÙ ÔÏ˘ÒÚÔÊ· ÎÙ›ÚÈ·: ¿Óˆ ·ÚÈÛÙÂÚ¿) Î·È ÙÔÓ ÚÔÛÊ˘ÁÈÎfi Û˘ÓÔÈÎÈÛÌfi Ù˘ ∞Á›·˜ ºˆÙÂÈÓ‹˜ (ÌÔÓÒÚÔÊ· Ì ·˘Ï¤˜ Î·È ‰¤ÓÙÚ·, ¿Óˆ ‰ÂÍÈ¿), Ë ¢∂£ ÛËÌ›ˆÓ ÌÂÁ¿ÏË ÂÈÙ˘¯›·, ·Ó ÎÚ›ÓÂÈ Î·Ó›˜ ·fi ÙÔÓ ·ÚÈıÌfi ÙˆÓ ÂÈÛÎÂÙÒÓ Ù˘. ΔÔ 1965 ¤ÊÙ·Û ÙÔ ˙ÂÓ›ı ÛÙËÓ ÈÛÙÔÚ›· Ù˘: 1.623.488 ¿ÙÔÌ· Ï‹ÚˆÛ·Ó ÂÈÛÈÙ‹ÚÈÔ ÁÈ· Ó· ÂÚ¿ÛÔ˘Ó ÙȘ ‡Ï˜ Ù˘. √ ·ÚÈÔ˜ ÂÎıÂÛÈ·Îfi˜ fiÁÎÔ˜ ÚÔ¤Ú¯ÔÓÙ·Ó ·fi ÔÏ˘ÏËı›˜ ȉȈÙÈÎÔ‡˜ ÂÎıÂÛÈ·ÎÔ› ¯ÒÚÔ˘˜, Ô˘ ηÙ›¯·Ó –fiˆ˜ Ê·›ÓÂÙ·È ÛÙË ÊˆÙÔÁÚ·Ê›·- ÙÔ ÎÂÓÙÚÈÎfi ÙÌ‹Ì· Ù˘. ªÂ ‚¿ÛË ÙÔ˘˜ ¯ÒÚÔ˘˜ ·˘ÙÔ‡˜ ÂȯÂÈÚÂ›Ù·È Î·È Ë ¯ÚÔÓÔÏfiÁËÛË Ù˘ ʈÙÔÁÚ·Ê›·˜ ÙÔ ¤ÙÔ˜ 1964.
The Thessaloniki International Fair, 1964
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.
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°ÂÓÈ΋ ¿Ô„Ș Ù˘ ∂Îı¤Ûˆ˜, 19.9.1968
An overall view of the International Trade Fair, 19.9.1968
¢ÈÂıÓ‹˜ ŒÎıÂÛË £ÂÛÛ·ÏÔӛ΢, 1969
ΔÔ 1968, ÂÎÙfi˜ ·fi ¤ÓÙ Ӥ· ȉȈÙÈο ÂÚ›ÙÂÚ·, ·ÔÂÚ·ÙÒıËÎÂ Î·È ÙÔ «∂ÌÔÚÈÎfi ∫¤ÓÙÚÔ» Ù˘ ¢∂£ (Ó˘Ó ÂÚ›ÙÂÚÔ 8). ∞ÚÈÛÙÂÚ¿, Ë Ô‰fi˜ ∞ÁÁÂÏ¿ÎË. ™ÙÔ ¿Óˆ ̤ÚÔ˜ ÙÔ˘ ÂÎıÂÛÈ·ÎÔ‡ ¯ÒÚÔ˘ Ù· ÁÚ·Ê›· ‰ÈÔÈ΋Ûˆ˜ Î·È ‰ÂÍÈ¿ ÙÔ˘ ÙÔ ÂÚ›ÙÂÚÔ 1. μÔÚÂÈfiÙÂÚ·, Ë ·ÓÂÈÛÙËÌÈÔ‡ÔÏË. ΔÔ ÂfiÌÂÓÔ ¤ÙÔ˜ Ô ÂÎıÂÛÈ·Îfi˜ ¯ÒÚÔ˜ ı· ¤·ÈÚÓ ۯ‰fiÓ ÙËÓ ÔÚÈÛÙÈ΋ ÌÔÚÊ‹ ÙÔ˘.
The Thessaloniki International Fair, 1969
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.
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11.1.1965. ∏ Ô‰fi˜ ∞ÁÁÂÏ¿ÎË ¢ÂÛÂÚ¤, Ì›· ·fi Ù·˜ ˆÚ·›·˜ ψÊfiÚÔ˘˜ Ù˘ ÂÏÏËÓÈ΋˜ Û˘ÌÚˆÙ¢ԇÛ˘
11.1.1965. Aggelaki Despere Street, one of the beautiful avenues of the second largest city of Greece
√‰fi˜ ∞ÁÁÂÏ¿ÎË, 1965
∞Ó Î·È ¯·ÚÙÔÁÚ·ÊÈο Ô ‰ÚfiÌÔ˜ ÂÌÊ·Ó›˙ÂÙ·È ·fi ÙÔ 1898, Ë Ô‰fi˜ ∞ÁÁÂÏ¿ÎË ‰È·ÌÔÚÊÒıËΠÌfiÏȘ ÛÙË ‰ÂηÂÙ›· ÙÔ˘ 1960. ª¤¯ÚÈ Ù· Ù¤ÏË ÙÔ˘ 19Ô˘ ·ÈÒÓ·, ÙËÓ ÂÚÈÔ¯‹ ‰È¤Û¯È˙ ¯Â›Ì·ÚÚÔ˜, Ô˘ η٤‚·ÈÓ ·fi ÙÔ ‚ÔÚÚ¿ Î·È Û˘Ó¤¯È˙ ÚÔ˜ ÙË ı¿Ï·ÛÛ·. ∫·Ù¿ Ì‹ÎÔ˜ ÙÔ˘ ¯ÂÈÌ¿ÚÚÔ˘ ˘‹Ú¯·Ó Ï·Ù¿ÓÈ·, ÛÙ· ÔÔ›· Á›ÓÔÓÙ·Ó ı·Ó·ÙÈΤ˜ ÂÎÙÂϤÛÂȘ. ™ÙË ‰È¿ÚÎÂÈ· ÙÔ˘ ÚÒÙÔ˘ ·ÁÎÔÛÌ›Ô˘ ÔϤÌÔ˘, Ô ¯ÒÚÔ˜ ¯ÚËÛÈÌÔÔÈ‹ıËΠÁÈ· ·Ôı‹Î¢ÛË Î·È ÛÙÚ·ÙˆÓÈÛÌfi. ™ÙÔ ‰˘ÙÈÎfi ¿ÎÚÔ Ù˘ ÛËÌÂÚÈÓ‹˜ ¢∂£, ÚÔ˜ ÙËÓ Ô‰fi ∞ÁÁÂÏ¿ÎË, ηٷÛ΢¿ÛıËÎ·Ó Í‡ÏÈÓ˜ ·Ú¿ÁΘ ÁÈ· Ó· ÛÙÂÁ·ÛÙÔ‡Ó ˘ÚÔ·ı›˜. ªfiÏȘ ÛÙË ‰ÂηÂÙ›· ÙÔ˘ 1950 ¯·Ú¿¯ıËΠÙÔ ‚fiÚÂÈÔ ÙÌ‹Ì· Ù˘ Ô‰Ô‡. ºˆÙÔÁڷʛ˜ Ù˘ ÂÔ¯‹˜ Ì·˜ ‰Â›¯ÓÔ˘Ó fiÙÈ Á›ÓÔÓÙ·Ó ÂΛ ¯ˆÌ·ÙÔ˘ÚÁÈΤ˜ ÂÚÁ·Û›Â˜ ÁÈ· ÙË ‰È·ÌfiÚʈÛË ÙÔ˘ ‰¿ÊÔ˘˜ Î·È ÙË ‰È¢ı¤ÙËÛË ÙÔ˘ ¯ÂÈÌ¿ÚÚÔ˘, ÚÔÎÂÈ̤ÓÔ˘ Ó· ÂÊ·ÚÌÔÛÙ› ÙÔ ÔÏÂÔ‰ÔÌÈÎfi Û¯¤‰ÈÔ (1959). ∏ ʈÙÔÁÚ·Ê›· ÙÔ˘ 1965 Ì·˜ ‰Â›¯ÓÂÈ ¤Ó·Ó ÂÓÙÂÏÒ˜ Ó¤Ô ‰ÚfiÌÔ, Ì ηÈÓÔ‡ÚÁÈ· ÎÙ›ÚÈ·. ∏ Ô‰fi˜ ¢ÂÛÂÚ¤ (ÙÔ ·Ó·ÙÔÏÈÎfi ÙÌ‹Ì· Ù˘ ÔÔ›·˜ Û˘Ó·ÓÙ‹Û·Ì Û ÚÔËÁÔ‡ÌÂÓ˜ Ï‹„ÂȘ) Û˘Ó¯›˙ÂÙ·È Û¯Â‰fiÓ ·Ú¿ÏÏËÏ· Ì ÙËÓ Ô‰fi ∞ÁÁÂÏ¿ÎË (›Ûˆ ·fi ÙȘ ÔÏ˘Î·ÙÔÈ˘).
Aggelaki Street, 1965
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).
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ΔÔ Ó¤ÔÓ ·Ú¯·ÈÔÏÔÁÈÎfiÓ ÌÔ˘ÛÂ›Ô Ù˘ fiψ˜ 24.10.1962
The new archaeological museum of the city 24.10.1962
∞Ú¯·ÈÔÏÔÁÈÎfi ÌÔ˘Û›Ô, ·Ó·ÙÔÏÈ΋ Ù¤Ú˘Á·, 1962
ΔÔ ·Ú¯·ÈÔÏÔÁÈÎfi ÌÔ˘ÛÂ›Ô Ù˘ £ÂÛÛ·ÏÔӛ΢ ȉڇıËΠÙÔ 1925 Î·È ÛÙÂÁ¿ÛÙËΠ«ÚÔÛˆÚÈÓ¿» ÛÙÔ «Ó¤Ô Ù¤ÌÂÓÔ˜» (°ÂÓ› Δ˙·Ì›). ŒÎÙÔÙ ÍÂΛÓËÛÂ Ë ·Ó·˙‹ÙËÛË ÙÔ˘ ηٿÏÏËÏÔ˘ ¯ÒÚÔ˘ ÁÈ· ÙËÓ ÔÚÈÛÙÈ΋ ÛÙ¤Á·Û‹ ÙÔ˘. ΔÔ 1949 ·Ú·¯ˆÚ‹ıËΠÔÈÎfiÂ‰Ô 35 ÛÙÚÂÌÌ¿ÙˆÓ, ·fi ÙËÓ ·ÓÙ·ÏÏ¿ÍÈÌË ÂÚÈÔ˘Û›·, ÚÔ˜ ÙËÓ Ô‰fi ∞ÁÁÂÏ¿ÎË. ΔÔ ¯ÒÚÔ ·˘ÙfiÓ fï˜ ‰ÈÂΉÈÎÔ‡ÛÂ Î·È Ë ¢∂£, ÚÔÎÂÈ̤ÓÔ˘ Ó· ÂÂÎÙ›ÓÂÈ ÙȘ ÂÁηٷÛÙ¿ÛÂȘ Ù˘. ∂ΉËÏÒıËÎÂ, ¤ÙÛÈ, ÈÛ¯˘Ú‹ ÙÔÈ΋ ‰È¤ÓÂÍË, Ë ÔÔ›· ÍÂÂÚ¿ÛÙËΠÙÔ 1956, fiÙ·Ó ÙÔ ÀÔ˘ÚÁÂ›Ô ∂ıÓÈ΋˜ ∞̇Ó˘ ·Ú·¯ÒÚËÛ ÙÌ‹Ì· ÙÔ˘ ¶Â‰›Ô˘ ÙÔ˘ ÕÚˆ˜ (12 ÛÙÚ¤ÌÌ·Ù·) ÁÈ· Ó· ÔÈÎÔ‰ÔÌËı› ÙÔ ·Ú¯·ÈÔÏÔÁÈÎfi ÌÔ˘Û›Ô. ∏ ·Ó¤ÁÂÚÛË Ú·ÁÌ·ÙÔÔÈ‹ıËΠÙÔ 1961 Î·È ÔÏÔÎÏËÚÒıËΠÙÔ 1962. Δ· Û¯¤‰È· ÂÎfiÓËÛÂ Ô ·Ú¯ÈÙ¤ÎÙˆÓ ¶¿ÙÚÔÎÏÔ˜ ∫·Ú·ÓÙÈÓfi˜, Ì ¿ÌÂÛ˜ ·Ó·ÊÔÚ¤˜ ÛÙÔ ·Ú¯·›Ô ÂÏÏËÓÈÎfi Û›ÙÈ, Ì ٷ ÂÛˆÙÂÚÈο ·›ıÚÈ·. √ ÂÁηÈÓÈ·ÛÌfi˜ Ú·ÁÌ·ÙÔÔÈ‹ıËΠÙÚÂȘ ̤Ú˜ ÌÂÙ¿ ·fi ÙË ÊˆÙÔÁÚ·ÊÈ΋ Ï‹„Ë, ÛÙȘ 27.10.1962, Ì ·ÊÔÚÌ‹ ÙËÓ ÂÓÙËÎÔÛÙ‹ ¤ÙÂÈÔ ·fi ÙËÓ ·ÂÏ¢ı¤ÚˆÛË Ù˘ £ÂÛÛ·ÏÔӛ΢.
Archaeological museum, eastern wing, 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.
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§¿ÚÓ·Í ¯Ú˘Û‹ Ô˘ ÂÚÈ›¯Â Ù· ÔÛÙ¿ ÙÔ˘ ÓÂÎÚÔ‡ ‚·ÛÈÏÈ¿. ΔÔ ¯Ú˘Ûfi ÛÙÂÊ¿ÓÈ Ô˘ ÂÈÎÔÓ›˙ÂÙ·È ·fi ¿Óˆ, ‚Ú¤ıËΠ›Û˘ ̤۷ ÛÙË Ï¿Úӷη. ∞ÔÙÂÏÂ›Ù·È ·fi ʇÏÏ· Î·È Î·ÚÔ‡˜ ‰Ú˘fi˜. μÂÚÁ›Ó·, ‚·ÛÈÏÈÎfi˜ Ù¿ÊÔ˜ 1977 (350-325 .Ã.)
A reliquary made of gold, containing the deceased king’s relics. The gold wreath shown above had also been found in the reliquary. It is made of oak tree leaves and fruits. Vergina, royal tomb 1977 (350-325 B.C.)
∏ Ï¿Úӷη
™ÙÔ ·Ú¯·ÈÔÏÔÁÈÎfi ÌÔ˘ÛÂ›Ô Ù˘ £ÂÛÛ·ÏÔӛ΢ Ê˘Ï¿ÛÛÂÙ·È Ë ÂÚ›ÊËÌË Ï¿Úӷη Ô˘ ‚Ú‹ÎÂ Ô ·Ú¯·ÈÔÏfiÁÔ˜ ª. ∞Ó‰ÚfiÓÈÎÔ˜ ÛÙÔÓ ı·˘Ì¿ÛÈÔ Ù¿ÊÔ μã ÙÔ˘ ªÂÁ¿ÏÔ˘ Δ‡Ì‚Ô˘, ÙÔÓ ÔÔ›Ô ÔÏÏÔ› ıˆÚÔ‡Ó ˆ˜ ÓÂÎÚÈÎfi Ù¿ÊÔ ÙÔ˘ ‚·ÛÈÏÈ¿ ºÈÏ›Ô˘. ∏ Ï¿Úӷη ÎfiÛÌËÛ ÙÔ ÂÍÒÊ˘ÏÏÔ ÙÔ˘ Ô‰ËÁÔ‡ ÙÔ˘ ·Ú¯·ÈÔÏÔÁÈÎÔ‡ ÌÔ˘Û›Ԣ, ÙÔÓ ÔÔ›Ô Âͤ‰ˆÛ ÙÔ 1981 Ô ·Â›ÌÓËÛÙÔ˜ ª·ÓfiÏ˘ ∞Ó‰ÚfiÓÈÎÔ˜.
The reliquary
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.
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∫fiÌ‚Ô˜, 23.12.1967
An interchange, 23.12.1967
∏ Ï·Ù›· Ù˘ Ã∞¡£ Ì ÙÔ ·Ú¯·ÈÔÏÔÁÈÎfi ÌÔ˘Û›Ô, 1967
∏ ÔÏÔÎÏ‹ÚˆÛË ÙÔ˘ ·Ú¯·ÈÔÏÔÁÈÎÔ‡ ÌÔ˘Û›Ԣ, ·ÏÏ¿ Î·È Ë Â¤ÎÙ·ÛË Ù˘ ¢∂£ ÚÔ˜ Ù· ÓÔÙÈÔ·Ó·ÙÔÏÈο, ‰ËÌÈÔ‡ÚÁËÛ·Ó ÌÈ· Ó¤· Ú˘ÌÔÙÔÌÈ΋ Ú·ÁÌ·ÙÈÎfiÙËÙ·. ŒÙÛÈ, ¤Ú ӷ ηٷÚÁËıÔ‡Ó ÙÌ‹Ì·Ù· ‰ÚfiÌˆÓ Î·È Ó· ‰ËÌÈÔ˘ÚÁËıÔ‡Ó Ó¤·, Ì ·ÔÙ¤ÏÂÛÌ· ÛÙÔÓ ¿ÏÏÔÙ ·Î¿Ï˘ÙÔ ¯ÒÚÔ Ô˘ ˘‹Ú¯Â ÌÚÔÛÙ¿ ÛÙË Ã∞¡£ Ó· ‰È·ÌÔÚʈı› ÌÈ· Ï·Ù›·, Ô˘ ÚÔ‚¿ÏÂÈ ÙËÓ ÎÂÓÙÚÈ΋ ›ÛÔ‰Ô Ù˘ ¢∂£ Î·È ÙÔ ·Ú¯·ÈÔÏÔÁÈÎfi ÌÔ˘Û›Ô. ™’ ·˘Ù‹Ó Û˘Ì‚¿ÏÏÔ˘Ó ÔÈ Ô‰Ô›: ΔÛÈÌÈÛ΋, ∞ÁÁÂÏ¿ÎË, §ÂˆÊfiÚÔ˜ ™ÙÚ·ÙÔ‡, ¢ÂÛÂÚ¤ Î·È ¡ÈÎÔÏ¿Ô˘ °ÂÚÌ·ÓÔ‡.
The Square of YMCA of Thessaloniki with the archaeological museum, 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.
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¶·Ï·› ¡Ù ™ÔÚ £ÂÛÛ·ÏÔӛ΢, 5.9.1966
The Palais de Sports of Thessaloniki, 5.9.1966
ΔÔ ÎÏÂÈÛÙfi Á‹Â‰Ô ÂÙÔÈÌ¿˙ÂÙ·È ÁÈ· ÙÔ ÊÂÛÙÈ‚¿Ï ÙÚ·ÁÔ˘‰ÈÔ‡, 1966
∏ ‰ËÌÈÔ˘ÚÁ›· ÎÏÂÈÛÙÔ‡ Áˤ‰Ô˘ Ì¿ÛÎÂÙ ‹Ù·Ó ¤Ó· ·fi ·ÈÙ‹Ì·Ù· Ù˘ ÌÂÙ·ÔÏÂÌÈ΋˜ £ÂÛÛ·ÏÔӛ΢. ∏ ÔÈÎÔ‰fiÌËÛ‹ ÙÔ˘ ÛÙÔ ¯ÒÚÔ Ù˘ ¢∂£, Ì ÙËÓ Î·Ù¿ÚÁËÛË ÙˆÓ ÙÚÈÒÓ ·Ï·ÈÔÙ¤ÚˆÓ ÂÚÈÙ¤ÚˆÓ Ù˘, ‰È‹ÚÎÂÛ ·fi ÙÔ 1960 ˆ˜ ÙÔ 1964. ΔÔ 1964 ‰ÈÔÚÁ·ÓÒıËΠ–ÁÈ· ÚÒÙË ÊÔÚ¿ ÛÙÔ ¶·Ï¤ ÓÙ ™ÔÚ- ÙÔ ÙÚ›ÙÔ ºÂÛÙÈ‚¿Ï ∂Ï·ÊÚÔ‡ ∂ÏÏËÓÈÎÔ‡ ΔÚ·ÁÔ˘‰ÈÔ‡, Ì 25.000 ·ÎÚÔ·Ù¤˜. ΔÔ 1966, Ï›Á˜ ̤Ú˜ ÌÂÙ¿ ·fi ÙË Ï‹„Ë Ù˘ ʈÙÔÁÚ·Ê›·˜, Ú·ÁÌ·ÙÔÔÈ‹ıËΠÙÔ ¤ÌÙÔ ºÂÛÙÈ‚¿Ï ∂Ï·ÊÚÔ‡ ∂ÏÏËÓÈÎÔ‡ ΔÚ·ÁÔ˘‰ÈÔ‡. ¢È·ÁˆÓ›ÛıËÎ·Ó 149 Û˘Óı¤ÛÂȘ. √ °. ª·˘ÚÔÌÔ˘ÛÙ¿Î˘ ¤Ï·‚ ÙÔ ÚÒÙÔ ‚Ú·‚›Ô, Ì ÙÔ ÙÚ·ÁÔ‡‰È «ΔÔ ·ÓËÁ‡ÚÈ». ΔÔ ‰Â‡ÙÂÚÔ ‚Ú·‚Â›Ô ¤Ï·‚Â Ô ∑·Î π·Îˆ‚›‰Ë˜ («¢ÒÛ ÌÔ˘») Î·È ÙÔ ÙÚ›ÙÔ Ô ¶. ∫·„Ôη‚¿‰Ë˜ («ΔÔ ÔÙ¿ÌÈ»).
The sports hall is being prepared for the Song Festival, 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")].
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™Â٤̂ÚÈÔ˜ 1970, 35Ë ¢ÈÂıÓ‹˜ ŒÎıÂÛȘ £ÂÛÛ·ÏÔӛ΢. ∂Ș ÙÔ Î¤ÓÙÚÔÓ Ô ‡ÚÁÔ˜ ÙÔ˘ √Δ∂
September 1970, 35th Thessaloniki International Fair. The Telecommunications Company tower rises in the middle
¢∂£, 1970
ΔÔ 1970 ÏÂÈÙÔ‡ÚÁËÛ ϋڈ˜ Ô ‡ÚÁÔ˜ ÙÔ˘ √Δ∂, ·Ú¯ÈÙÂÎÙÔÓÈÎfi ¤ÚÁÔ ÙÔ˘ ∞. ¢. ∞Ó·ÛÙ·ÛÈ¿‰Ë. ∫·Ù¤Ï·‚ ÙË ı¤ÛË ÙÔ˘ ÏÔ‡Ó· ·ÚÎ (Ô˘ ÂÌÊ·Ó›˙ÂÙ·È ÛÙÔ ·ÚÈÛÙÂÚfi ÙÌ‹Ì· Ù˘ Ï‹„˘ ÙÔ˘ 1964). ŒÎÙÔÙÂ, Ô ‡ÚÁÔ˜ ·ÔÙ¤ÏÂÛ ¯·Ú·ÎÙËÚÈÛÙÈÎfi ÁÓÒÚÈÛÌ· Ù˘ ¢∂£. ™ÙÔÓ ¤ÌÙÔ fiÚÔÊÔ ÙÔ˘ ‡ÚÁÔ˘, Ô √Δ∂ Î·È Ë ¢∂£ ›¯·Ó ‰ËÌÈÔ˘ÚÁ‹ÛÂÈ ÎÔÈÓfi ÙËÏÂÔÙÈÎfi ÛÙ·ıÌfi, Ô ÔÔ›Ô˜ ÂͤÂÌ ηı’ fiÏË Ù˘ ‰È¿ÚÎÂÈ· Ù˘ ‰ÈÔÚÁ¿ÓˆÛ˘. ΔÔ ÎÔÈÓfi ·Ú·ÎÔÏÔ˘ıÔ‡Û ·fi ‰¤ÎÙ˜, Ô˘ ‹Ù·Ó ·Ó·ÚÙË̤ÓÔÈ ÛÙÔ˘˜ ‰ÚfiÌÔ˘˜ Ù˘ ¤ÎıÂÛ˘. ∏ ÂÏÏËÓÈ΋ ‚ÈÔÙ¯ӛ·, Ì ΢ÚÈfiÙÂÚ· ÂÎı¤Ì·Ù· Ù· ¤ÈÏ·, Ù· ¯·ÏÈ¿ Î·È Ù· ·È¯Ó›‰È·, ·ÚÔ˘ÛÈ¿ÛıËΠηٿ ÙÔÌ›˜ ÛÙÔ Ó¤Ô ÎÙ›ÚÈÔ °ã (·ÚÈÛÙÂÚ¿).
The Thessaloniki International Fair, 1970
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).
k 142
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60
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143 k
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ÕԄȘ 37˘ ŒÎıÂÛ˘ £ÂÛÛ·ÏÔӛ΢
A view of the 37th Fair of Thessaloniki
¢∂£ 1972
∏ Ï‹„Ë ¤ÁÈÓ ·fi ÎÙ›ÚÈÔ Ù˘ Ô‰Ô‡ ∂ÁÓ·Ù›·˜. √ ʈÙÔÁÚ¿ÊÔ˜ ÛÎfi¢Û ÛÙËÓ ‡ÏË Ù˘ Ï·Ù›·˜ ™ÈÓÙÚÈ‚·Ó›Ô˘, Ì ¿ÍÔÓ· ÙËÓ ÂÁοÚÛÈ· ψÊfiÚÔ Ù˘ ¢∂£. ¢ÂÍÈ¿, Ô ‡ÚÁÔ˜ ÙÔ˘ √Δ∂. ∏ ʈٷÁÒÁËÛË –Û ÌÈ· fiÏË Ô˘ › ‰ÂηÂٛ˜ ‰ÂÓ ‰È¤ıÂÙ ¿ÚÎÂÈ· ËÏÂÎÙÚÈÎÔ‡ Ú‡̷ÙÔ˜- ·ÔÙ¤ÏÂÛ ÛÙÔÈ¯Â›Ô ÚÔ‚ÔÏ‹˜ Ù˘ ¢∂£ ·fi ÙÔ ÚÒÙÔ ¤ÙÔ˜ Ù˘ ÏÂÈÙÔ˘ÚÁ›·˜ Ù˘. ∞Ó Î·È Ë Ï·Ù›· Ô˘ ·ÂÈÎÔÓ›˙ÂÙ·È Û ÚÒÙÔ Ï¿ÓÔ ÔÓÔÌ¿˙ÂÙ·È «™˘ÓÙÚÈ‚·Ó›Ô˘», ÙËÓ ÂÔ¯‹ ÂΛÓË ÙÔ ÛÈÓÙÚÈ‚¿ÓÈ (ÎÙ›ÛÌ· ÙÔ˘ 1890) ›¯Â ·ÔÛ˘Ó·ÚÌÔÏÔÁËı›. ∂·Ó·ÙÔÔıÂÙ‹ıËΠÌÂÚÈο ¯ÚfiÓÈ· ·ÚÁfiÙÂÚ·. Ÿˆ˜ Î·È ÔÈ ¿ÏϘ Ï·Ù›˜ Ô˘ ‰È·ÌÔÚÊÒıËÎ·Ó ·Ó¿ÌÂÛ· ·fi ÙË ¢∂£ Î·È ÙÔ §Â˘Îfi ¶‡ÚÁÔ ÛÙȘ ‰ÂηÂٛ˜ ÙÔ˘ 1950 Î·È ÙÔ˘ 1960, ¤ÙÛÈ Î·È Ë Ï·Ù›· ™ÈÓÙÚÈ‚·Ó›Ô˘ ›¯Â ˘Ô¯ÚˆÙÈ΋ ΢ÎÏÈ΋ ÔÚ›· ÙˆÓ ·˘ÙÔÎÈÓ‹ÙˆÓ.
The Thessaloniki International Fair 1972
The shot was taken from a building on Egnatia Street. The photographer captured the entrance on the Sintrivaniou Square, focusing on the traverse pathway of the Fair. On the right, there is the Telecommunications Company tower. The lighting – in a city which for decades lacked sufficient power supply – had been a feature that promoted the Fair as early as it first year of operation. Although the square in the foreground is called "Sintrivaniou Square" (i.e. Square of the Fountain"), yet during that period the Fountain (made in 1890) had been disassembled. It was reinstated some years later. Just like all the other squares that were landscaped between the Thessaloniki International Fair and the White Tower during the 1950s and the 1960s, Sintrivaniou Square featured a compulsory circular direction as well.
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™ÙÈÁÌÈfiÙ˘ÔÓ ·fi Ù· ÂÁη›ÓÈ· Ù˘ 40‹˜ ¢ÈÂıÓÔ‡˜ ∂Îı¤Ûˆ˜ £ÂÛÛ·ÏÔӛ΢, 30.8.1975
A snapshot from the opening day of the 40th Thessaloniki International Fair, 30.8.1975
¢∂£, 1975
∞ÂÈÎÔÓ›˙ÂÙ·È Ë Â͈ÙÂÚÈ΋ fi„Ë Ù˘ ¢∂£ ·fi ÙËÓ ÏÂ˘Ú¿ Ù˘ Ï·Ù›·˜ ™ÈÓÙÚÈ‚·Ó›Ô˘. √È ÛËÌ·›Â˜ ÙˆÓ 21 ¯ˆÚÒÓ Ô˘ Û˘ÌÌÂÙ›¯·Ó ÂΛÓË ÙË ¯ÚÔÓÈ¿ Ì ›ÛËÌÔ ÎÚ·ÙÈÎfi ÂÚ›ÙÂÚÔ (‰ÈfiÙÈ ÔÏϤ˜ ͤÓ˜ Û˘ÌÌÂÙÔ¯¤˜ ‹Ù·Ó ·Ó›ÛË̘ ) ¤¯Ô˘Ó ÙÔÔıÂÙËı› › Ù˘ Ï·Ù›·˜ Ù˘ Ã∞¡£. ΔÔ 1975 Ë ‰È¿ÚÎÂÈ· Ù˘ ¤ÎıÂÛ˘ ÂÚÈÔÚ›ÛÙËΠ۠‰‡Ô ‚‰ÔÌ¿‰Â˜, ·fi ÙȘ ÙÚÂȘ Ô˘ ‰È·ÚÎÔ‡ÛÂ. ∏ Ï‹„Ë Ú·ÁÌ·ÙÔÔÈ‹ıËΠË̤ڷ ™¿‚‚·ÙÔ Î·È- fiˆ˜ ‰Â›¯ÓÔ˘Ó ÔÈ ÛÎȤ˜- ·ÔÁÂ˘Ì·ÙÈÓ‹ ÒÚ·.
The Thessaloniki International Fair, 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.
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147 k
63
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¶ÂÚ›ÙÂÚÔÓ ∂√∫- ∫Ú¿ÙË Ì¤ÏË Ù˘ ∂˘Úˆ·˚΋˜ ∫ÔÈÓfiÙËÙ·˜ 1980
The Kiosk of the E.E.C. – Member States of the European Community 1980
¶ÂÚ›ÙÂÚÔ 8, 1980
ΔÔ 1980, ÂÓ fi„ÂÈ Ù˘ ›ÛËÌ˘ ¤ÓÙ·Í˘ Ù˘ ∂ÏÏ¿‰·˜ ÛÙËÓ ∂˘Úˆ·˚΋ ∫ÔÈÓfiÙËÙ·, fiˆ˜ ÔÓÔÌ·˙fiÙ·Ó ÙfiÙÂ Ë ∂˘Úˆ·˚΋ ŒÓˆÛË, ÙÔ ÁÚ·ÊÂ›Ô ÏËÚÔÊÔÚÈÒÓ Ô˘ ‰È·ÙËÚÔ‡ÛÂ Ë ∫ÔÈÓfiÙËÙ· ÛÙȘ ÂÙ‹ÛȘ ¢∂£ ·Ó·‚·ıÌ›ÛÙËÎÂ. ∏ ∫ÔÈÓfiÙËÙ· ·ÚÔ˘ÛÈ¿ÛÙËΠ۠¤Ó·Ó ÔÏfiÎÏËÚÔ fiÚÔÊÔ ÙÔ˘ ÂÚÈÙ¤ÚÔ˘ 8. ∞˜ ÛËÌÂȈı› fiÙÈ Î·È Ù· ÂÓÓ¤· ÏÔÈ¿ ̤ÏË Ù˘ ÎÔÈÓfiÙËÙ·˜ ¤Ï·‚·Ó ̤ÚÔ˜ ÛÙË ¢∂£ ÙÔ˘ 1980. ΔÔ ÂÚ›ÙÂÚÔ 8 ÔÈÎÔ‰ÔÌ‹ıËΠÙÔ 1968 Û ۯ¤‰È· ÙÂÛÛ¿ÚˆÓ Î·ıËÁËÙÒÓ ÙÔ˘ ÔÏ˘Ù¯Ó›Ԣ ÙÔ˘ ∞¶£, Î·È ÔÓÔÌ¿ÛÙËΠ·Ú¯ÈÎÒ˜ «∂ÌÔÚÈÎfi ∫¤ÓÙÚÔ».
Kiosk 8, 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".
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63
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149 k
64
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¶·ÓÂÈÛÙËÌÈÔ‡ÔÏȘ £ÂÛÛ·ÏÔӛ΢ 24.10.1962
The University campus of Thessaloniki 24.10.1962
™˘Ì‚ÔÏ‹ ÙˆÓ Ô‰ÒÓ ∂ıÓÈ΋˜ ∞̇Ó˘, ∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘ Î·È Ô‰Ô‡ ™·Ú¿ÓÙ· ∂ÎÎÏËÛÈÒÓ, 1962
∫ÂÎÏÈ̤ÓË Ï‹„Ë ·fi ·¤ÚÔ˜. ∏ Ô‰fi˜ ∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘ ‰È·Û¯›˙ÂÈ ÙËÓ ÂÈÎfiÓ· ·fi ·ÚÈÛÙÂÚ¿ ÚÔ˜ Ù· ‰ÂÍÈ¿, Ì ÁˆÓ›· 45 ÌÔÈÚÒÓ ÂÚ›Ô˘. ¶¿Óˆ ·fi ÙËÓ Ô‰fi ∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘ ·ÏÒÓÂÙ·È Ë Û˘ÓÔÈΛ· ÙˆÓ ™·Ú¿ÓÙ· ∂ÎÎÏËÛÈÒÓ, Ë ÔÔ›· ηÙ‚·›ÓÂÈ ÚÔ˜ Ù· ‰˘ÙÈο ÛÙÔ Û˘ÓÔÈÎÈÛÌfi Δ۷ω¿ÚË, fiÔ˘ Î·È ÔÈ ÊÔÈÙËÙÈΤ˜ ÂÛٛ˜. ∫¿Ùˆ ·fi ÙËÓ Ô‰fi ∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘ ( Û ÚÒÙÔ Ï¿ÓÔ) Ë º˘ÛÈÎÔÌ·ıËÌ·ÙÈ΋ Û¯ÔÏ‹. ¶›Ûˆ Ù˘ Ë °ÂˆÔÓÔ‰·ÛÔÏÔÁÈ΋ Î·È ·ÎÔÏÔ˘ı› -˘fi ·Ó¤ÁÂÚÛË- Ë ∫ÙËÓÈ·ÙÚÈ΋. ŒÂÙ·È, ÚÔ˜ ÙÔ ‚¿ıÔ˜ (Î·È ˘fi ·Ó¤ÁÂÚÛË Â›Û˘) Ë π·ÙÚÈ΋. ¶ÏËÓ Ù˘ ÚÒÙ˘, fiϘ ÔÈ ÏÔȤ˜ Û¯ÔϤ˜ ‹Ù·Ó Ó¤· ÎÙ›ÛÌ·Ù·. ™Ù· ‰ÂÍÈ¿ Ù˘ º˘ÛÈÎÔÌ·ıËÌ·ÙÈ΋˜, ÙÔ ÃËÌ›Ô, ›Û˘ Ó¤Ô ÎÙ›ÛÌ·. ∞Ó Î·È Ë ÊˆÙÔÁÚ·Ê›· ‰›ÓÂÈ ÙËÓ ·›ÛıËÛË ÓÂÎÚ‹˜ fiÏ˘ ‹ ̷Τٷ˜, Ë Ï‹„Ë ¤¯ÂÈ Á›ÓÂÈ Ë̤ڷ ΔÂÙ¿ÚÙË, ÂÚÁ¿ÛÈÌË, ÓˆÚ›˜ ÙÔ ·fiÁÂ˘Ì·.
The crossroads of Ethinkis Amynis, Aghiou Dimitriou and Saranta Ekklision streets, 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.
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64
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151 k
65
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¶·ÓÂÈÛÙËÌÈÔ‡ÔÏȘ £ÂÛÛ·ÏÔӛ΢ 24.10.1962
The University campus of Thessaloniki 24.10.1962
¶·ÓÂÈÛÙËÌÈÔ‡ÔÏË, Á‹Â‰Ô ¶∞√∫, ∞Á›· ºˆÙÂÈÓ‹, 1962
∫ÂÎÏÈ̤ÓË Ï‹„Ë ·fi ·¤ÚÔ˜. Œ¯ÂÈ Ú·ÁÌ·ÙÔÔÈËı› Ï›ÁË ÒÚ· ÌÂÙ¿ ÙËÓ ÚÔËÁÔ‡ÌÂÓË, ÙËÓ ÔÔ›· Û˘ÌÏËÚÒÓÂÈ. ¢È·ÎÚ›ÓÂÙ·È Ë º˘ÛÈÎÔÌ·ıËÌ·ÙÈ΋, ÛÙ· ·ÚÈÛÙÂÚ¿ Ù˘ Ë °ÂˆÔÓÔ‰·ÛÔÏÔÁÈ΋ Î·È ›Ûˆ Ù˘ ÔÏfiÎÏËÚÔ ÙÔ ÃËÌ›Ô, ÛÙÔ Î¤ÓÙÚÔ Ù˘ ʈÙÔÁÚ·Ê›·˜. ™Â ÚÒÙÔ Ï¿ÓÔ, ÙÔ ÎÔÈÌËÙ‹ÚÈÔ Ù˘ ∂˘·ÁÁÂÏ›ÛÙÚÈ·˜. ∫¿Ùˆ ‰ÂÍÈ¿, ÙÔ ∫ÂÓÙÚÈÎfi ¡ÔÛÔÎÔÌÂ›Ô (Ó˘Ó «°. °ÂÓÓËÌ·Ù¿˜»). ¢ÂÍÈ¿ Î·È ›Ûˆ ÙÔ˘, Ë Û¯ÔÏ‹ ÓÔÛÔÎfïÓ. ¶›Ûˆ Ù˘, ÛÙÔ ¿ÎÚÔ ‰ÂÍÈ¿, ÙÔ ·Ï·Èfi ÎÙ›ÚÈÔ ÙÔ˘ ·ÓÂÈÛÙËÌ›Ô˘. ™Ù· ·ÚÈÛÙÂÚ¿ ÙÔ˘ ¤¯ÂÈ ¤Ó· ÚfiÛÎÙÈÛÌ·, ÙÔ ÔÔ›Ô ·ÚÁfiÙÂÚ· ηÙ‰·Ê›ÛÙËÎÂ. ¶›Ûˆ ·fi ÙÔ ·Ï·Èfi ÎÙ›ÚÈÔ ‰È·ÎÚ›ÓÂÙ·È ÙÔ Ì¤¯ÚÈ ÙfiÙ Á‹Â‰Ô ÙÔ˘ ¶∞√∫, ÛÙÔ ÔÔ›Ô ˘¿Ú¯Ô˘Ó ÛÙ·ıÌÂ˘Ì¤Ó· ·˘ÙÔΛÓËÙ·. ™ÙÔ ¯ÒÚÔ ÂΛÓÔ ·ÓÂÁ¤ÚıËΠ·ÚÁfiÙÂÚ· Ë £ÂÔÏÔÁÈ΋ Û¯ÔÏ‹. ™ÙÔ Î¤ÓÙÚÔ Ù˘ ·ÓÂÈÛÙËÌÈÔ‡ÔÏ˘ ‰ÂÓ ¤¯Ô˘Ó ηٷÛ΢·ÛÙ› ·ÎfiÌË ÎÙ›ÚÈ·. ¢È·ÎÚ›ÓÔÓÙ·È ÌfiÓÔÓ: ÙÔ ªÂÙˆÚÔÛÎÔÂ›Ô (΢ÎÏÈÎfi ÎÙ›ÛÌ· ÛÙÔ Î¤ÓÙÚÔ), ÛÙ· ·ÚÈÛÙÂÚ¿ ÙÔ˘ ÙÔ ∞ÛÙÂÚÔÛÎÔÂ›Ô Î·È, ·ÎfiÌË ÈÔ ·ÚÈÛÙÂÚ¿, ÙÔ ÓÔÛÔÎÔÌÂ›Ô ∞Ã∂¶∞. ¶ÈÔ ¿Óˆ ·fi ÙÔ ∞Ã∂¶∞, Ë ¶ÔÏ˘Ù¯ÓÈ΋ Û¯ÔÏ‹. √È ¯ÒÚÔÈ ÚÔ˜ ÙÔ ¿Óˆ ‰ÂÍÈfi ̤ÚÔ˜ Ù˘ ʈÙÔÁÚ·Ê›·˜ Â›Ó·È Ù˘ ¢∂£, Ì ›ÎÂÓÙÚÔ ÙÔ ÎÏ·ÛÈ΋˜ Ù¯ÓÔÙÚÔ›·˜ ÎÙ›ÚÈÔ Ù˘ ∂ıÓÈ΋˜ ¶·Ú·ÁˆÁ‹˜, Ô˘ ·Ú·¯ÒÚËÛ ÙË ı¤ÛË ÙÔ˘ ÛÙÔ ¶·Ï¤ ÓÙ ™ÔÚ. ∞Ó¿ÌÂÛ· ÛÙËÓ ¶ÔÏ˘Ù¯ÓÈ΋, ÙË ¢∂£ Î·È ÙÔ Á‹Â‰Ô ÙÔ˘ ¶∞√∫, ·ÏÒÓÂÙ·È fi,ÙÈ Â›¯Â ·ÔÌ›ÓÂÈ ·fi ÙËÓ ÚÔÛÊ˘ÁÈ΋ ÔÏÈÙ›· Ù˘ ∞Á›·˜ ºˆÙÂÈÓ‹˜.
University campus, the PAOK playground, Aghia Photini, 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.
k 152
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153 k
ª¡∏ª∂π∞
THE MONUMENTS
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]. ∞fi ÙË Û˘ÏÏÔÁ‹ Ù˘ °ÂÓÈ΋˜ °Ú·ÌÌ·Ù›·˜ ∂ÈÎÔÈÓˆÓ›·˜ Î·È Ù˘ °ÂÓÈ΋˜ °Ú·ÌÌ·Ù›·˜ ∂ÓË̤ڈÛ˘ ¤¯Ô˘Ó ÂÈÏÂÁ› 26 Ï‹„ÂȘ ‚˘˙·ÓÙÈÓÒÓ Î·È ÓÂfiÙÂÚˆÓ ÌÓËÌ›ˆÓ Ù˘ £ÂÛÛ·ÏÔӛ΢, Ô˘ Ú·ÁÌ·ÙÔÔÈ‹ıËÎ·Ó Û ‰È¿ÊÔÚ˜ ¯ÚÔÓÈΤ˜ ÂÚÈfi‰Ô˘˜ ·fi ÙÔ 1900 ˆ˜ ÙÔ 1970. π‰È·›ÙÂÚ· ÔχÙÈ̘ Â›Ó·È ÔÈ Ï‹„ÂȘ ÙˆÓ ‰ÂηÂÙÈÒÓ ÙÔ˘ 1950 Î·È 1960, fiÙ·Ó ·ÎfiÌË Ë £ÂÛÛ·ÏÔÓ›ÎË ‰È·ÙËÚÔ‡Û ›¯ÓË ÙÔ˘ ‚˘˙·ÓÙÈÓÔ‡ ÈÛÙÔ‡ Ù˘ –̤۷ ·fi ÙȘ ÔıˆÌ·ÓÈΤ˜ ÂÈ‚ÈÒÛÂȘ ÙÔ˘- ÁÂÁÔÓfi˜ Ô˘ ¤ÙÚ ÙËÓ Î·Ï‡ÙÂÚË Î·Ù·ÓfiËÛË ÙÔ˘ ·ÛÙÈÎÔ‡ ÙÔ›Ô˘. √È ÊˆÙÔÁÚ·Ê‹ÛÂȘ ·˘Ù¤˜ ¤¯Ô˘Ó Û‹ÌÂÚ· ȉȷ›ÙÂÚË ·Í›· ÁÈ· fiÔÈÔÓ ·Û¯ÔÏÂ›Ù·È Ì ÙËÓ fiÏË –ÈÛÙÔÚÈο, ÁˆÁÚ·ÊÈο Î·È ÔÏÂÔ‰ÔÌÈο‰ÈfiÙÈ ¤¯Ô˘Ó Á›ÓÂÈ Ì ÙË Û˘Ó›‰ËÛË Ù˘ ··ı·Ó¿ÙÈÛ˘ ÂÓfi˜ ·ÍÈÔı¤·ÙÔ˘, ¯ˆÚ›˜ ‚¤‚·È· –ʈÙÔÁÚ¿ÊÔÈ Î·È Û˘ÏϤÎÙ˜- Ó· ˘ÔÙ‡ÔÓÙ·Ó fiÙÈ, Ôχ Û‡ÓÙÔÌ·, ÙÔ ÂÚÈ‚¿ÏÏÔÓ ı· ÌÂÙ·‚·ÏÏfiÙ·Ó Û ٤ÙÔÈÔ ‚·ıÌfi, ÒÛÙÂ Ë ÊˆÙÔÁÚ·Ê›· ı· ›¯Â ÌÂÁ·Ï‡ÙÂÚË ›Ûˆ˜ ·Í›· ÁÈ· ÙËÓ ·ÂÈÎfiÓÈÛË ÙˆÓ ¤ÚÈÍ, ·Ú¿ ÙÔ˘ ›‰ÈÔ˘ ÙÔ˘ ÌÓËÌ›Ԣ. [°È· ÙË Û‡ÓÙ·ÍË ÙˆÓ ˘ÔÌÓËÌ¿ÙˆÓ ÛÙȘ ÂÈÎfiÓ˜ 67 Î·È 68 ¢¯·ÚÈÛٛ˜ ÔÊ›ÏÔÓÙ·È ÛÙËÓ Î˘Ú›· ŒÏÏË °ÂˆÚÁÈÏ¿].
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66
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ÕÙÈÙÏË
Without Title
∏ ÕÓˆ ¶fiÏË Ù˘ £ÂÛÛ·ÏÔӛ΢, ›Ûˆ˜ Ù¤ÏË ‰ÂηÂÙ›·˜ 1920
√ ʈÙÔÁÚ¿ÊÔ˜ Ú¤ÂÈ Ó· ·Ó¤‚ËΠ۠ԛÎËÌ· ÛÙË ‰˘ÙÈ΋ ÏÂ˘Ú¿ Ù˘ Ô‰Ô‡ ∞ÎÚÔfiψ˜ Î·È Ó· ·ÍÈÔÔ›ËÛ ÙËÓ ˘„ÔÌÂÙÚÈ΋ ‰È·ÊÔÚ¿ ÁÈ· Ó· ÚÔ‚¿ÏÂÈ Ù· ‚fiÚÂÈ· Ù›¯Ë Ù˘ fiÏ˘ Î·È ÙÔÓ ÛÙÚÔÁÁ˘Ïfi ‡ÚÁÔ ÛÙÔ ΔÚÈÁÒÓÈÔ. ∞Ó¤‰ÂÈÍ ¤ÙÛÈ ÙȘ Û˘ÓÔÈ˘ Ù˘ ÕÓˆ ¶fiÏ˘. ∏ ¯ÚÔÓÔÏfiÁËÛË Ù˘ Ï‹„˘ Â›Ó·È ÚÔ‚ÏËÌ·ÙÈ΋. ¢ÂÓ ‰È·ÎÚ›ÓÂÙ·È Î·Ó¤Ó· ÛËÌÂ›Ô ÓˆÙÂÚÈÛÌÔ‡ Ô‡Ù ›¯ÓÔ˜ ÌÂÙ·ÊÔÚÈÎÔ‡ ̤ÛÔ˘. ∂Í ¿ÏÏÔ˘, ‰ÂÓ ‰È·ÎÚ›ÓÂÙ·È Ë ·ÌÊ›ÂÛË ÙˆÓ ÂÈÎÔÓÈ˙fiÌÂÓˆÓ ÌÔÚÊÒÓ ∏ ·Ô˘Û›· ÌÈÓ·Ú¤‰ˆÓ ‰Â›¯ÓÂÈ ˆ˜ terminus ante quem ÙÔ ¤ÙÔ˜ 1925 (ÔfiÙÂ Î·È Î·Ù‰·Ê›ÛÙËÎ·Ó fiÏÔÈ, ÏËÓ Ù˘ ƒÔÙfiÓÙ·˜).
Ano Poli (the Old City) of Thessaloniki, probably late 1920s
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).
k 156
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66
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157 k
67
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£ÂÛÛ·ÏÔÓ›ÎË. Δ· ‚˘˙·ÓÙÈÓ¿ Ù›¯Ë Ù˘ fiψ˜ «∂Ù·‡ÚÁÈÔÓ», 6.3.1963
Thessaloniki. The Byzantine walls of the city «Eptapyrgio», 6.3.1963
Δ· Ù›¯Ë, 1963
∏ Â͈ÙÂÚÈ΋ ÏÂ˘Ú¿ ÙˆÓ ‚fiÚÂÈˆÓ ÙÂȯÒÓ Ù˘ £ÂÛÛ·ÏÔӛ΢, ·fi ÙËÓ ÏÂ˘Ú¿ ÙÔ˘ ∂Ù·˘ÚÁ›Ô˘: fi,ÙÈ ‚ϤÂÈ Î·Ó›˜ ÌfiÏȘ ÂÚ¿ÛÂÈ ÙËÓ fiÏË Ô˘ ¯ÚËÛÈÌÔÔÈÔ‡Ó Ù· ψÊÔÚ›· ÁÈ· Ó· ÂÈÛ¤ÏıÔ˘Ó ÛÙÔ ∂Ù·‡ÚÁÈÔ. ∏ ÂÈÎfiÓ· Â›Ó·È ÂÓÙÂÏÒ˜ ›‰È· Î·È Û‹ÌÂÚ·.
The walls, 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.
k 158
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67
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159 k
68
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¶˘ÚηÁÈ¿ £ÂÛÛ·ÏÔӛ΢ 5.8.1917
The fire of Thessaloniki 5.8.1917
∂Ú›ȷ ·Ù·‡ÙÈÛÙÔ˘ Ó·Ô‡ ÌÂÙ¿ ÙËÓ ˘ÚηÁÈ¿ ÙÔ˘ 1917
∏ ˘ÚηÁÈ¿, ÂÎÙfi˜ ·fi ÙÔ˘˜ ÙÚÂȘ ÁÓˆÛÙÔ‡˜ ÌÂÁ¿ÏÔ˘˜ Ó·Ô‡˜ (ÕÁÈÔ ¢ËÌ‹ÙÚÈÔ, ÕÁÈÔ ¡ÈÎfiÏ·Ô, ∞Á›· £ÂÔ‰ÒÚ·) Î·È ÙÔÓ Ó·˝ÛÎÔ Ù˘ ¶·Ó·Á›·˜ ∂ÏÂÔ‡Û·˜ (ÎÔÓÙ¿ ÛÙË ªËÙÚfiÔÏË) η٤η˘Û ӷ˝ÛÎÔ˘˜ Î·È ·ÁÈ¿ÛÌ·Ù·, ÔÈ ÔÓÔ̷ۛ˜ ÙˆÓ ÔÔ›ˆÓ Ì·˜ Â›Ó·È ÁÓˆÛÙ¿ ÌfiÓÔÓ ·fi ·Ú¯ÂȷΤ˜ ËÁ¤˜. ∂›Û˘ η٤ÛÙÚ„ ÈÛÏ·ÌÈο ıÚËÛ΢ÙÈο ȉڇ̷ٷ Ô˘ ÛÙÂÁ¿˙ÔÓÙ·Ó Û ·Ï·ÈÔ‡˜ ¯ÚÈÛÙÈ·ÓÈÎÔ‡˜ Ó·Ô‡˜. √ ÂÈÎÔÓÈ˙fiÌÂÓÔ˜ Ó·fi˜ ‹Ù·Ó ÌÈÎÚfi˜. ∏ ‰Â‡ÙÂÚË ÛÂÈÚ¿ Ù˘ ÂÈÎÔÓÔÁÚ¿ÊËÛ˘ Ù˘ ·„›‰·˜ ÙÔ˘ ÈÂÚÔ‡ ·Ó··ÚÈÛÙ¿ ÙË ªÂÙ¿ÏË„Ë ÙÔ˘ √›ÓÔ˘ ·fi ÙË ˙ˆ‹ ÙÔ˘ ÃÚÈÛÙÔ‡ (·ÓÙ›ÛÙÔÈ¯Ë ÙÔȯÔÁÚ·Ê›· ˘¿Ú¯ÂÈ ÛÙÔ ·ÚÂÎÎÏ‹ÛÈ ÙÔ˘ ∞Á›Ô˘ ∂˘ı˘Ì›Ô˘, ÛÙÔÓ ÕÁÈÔ ¢ËÌ‹ÙÚÈÔ Ù˘ £ÂÛÛ·ÏÔӛ΢). Δ· ¯Ù˘‹Ì·Ù· ÛÙÔ˘˜ ÙÔ›¯Ô˘˜ Î·È Ù· ˘ÔÏ›ÌÌ·Ù· ÙÔ˘ ÛÔ‚¿ Ì·ÚÙ˘ÚÔ‡Ó fiÙÈ Ô Ó·fi˜ ›¯Â ÌÂÙ·Ùڷ› Û ٤ÌÂÓÔ˜. Δ¤ÏÔ˜, ÙÔ Â›Â‰Ô ÙˆÓ Ì¿˙ˆÓ ÛÙÔ ¯ÒÚÔ ÙÔ˘ ÈÂÚÔ‡, ÙÔ ÔÔ›Ô ··Ú·›ÙËÙ· ÛÙÂÁ¿˙ÂÙ·È Ì ¯ÙÈÛÙ‹ ÛÙ¤ÁË, ‚Ú›ÛÎÂÙ·È ÂÌÊ·ÓÒ˜ ˘„ËÏfiÙÂÚ· ·fi Ù· Ì¿˙· ÛÙÔÓ Î˘Ú›ˆ˜ Ó·fi. ÕÚ·, Ë ÛÙ¤ÁË ÙÔ˘ ΢ڛˆ˜ Ó·Ô‡ οËÎÂ Î·È Î·Ù¤ÚÚ¢ÛÂ, ·Ê‹ÓÔÓÙ·˜ Ôχ ÏÈÁfiÙÂÚ· ˘ÔÏ›ÌÌ·Ù·. ŒÙÛÈ, Ì¿ÏÏÔÓ, ÚfiÎÂÈÙ·È ÁÈ· ÌÈÎÚ‹ ͢ÏfiÛÙÂÁË ‚·ÛÈÏÈ΋, Ô˘ ›¯Â ÌÂÙ·Ùڷ› -ÁÈ· Ôχ ‹ Ï›ÁÔ- Û ٤ÌÂÓÔ˜ Î·È Î¿ËΠÙÔ 1917.
Ruins of an unidentified temple after the fire of 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.
k 160
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68
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161 k
69
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∞Á›· ™ÔÊ›·
Aghia Sophia
∏ ˙ËÌ›· Ô˘ ÚÔÎÏ‹ıËΠÛÙËÓ ∞Á›· ™ÔÊ›· ·fi ÈÙ·ÏÈÎfi ‚ÔÌ‚·Ú‰ÈÛÌfi, 1941
∫·Ù¿ ÙË ÌÂÁ¿ÏË ÈÙ·ÏÈ΋ ·ÂÚÔÔÚÈ΋ ÂȉÚÔÌ‹ Ù˘ 9˘ ºÂ‚ÚÔ˘·Ú›Ô˘ 1941, «Â‚Ï‹ıË ÌÓËÌ›ÔÓ ∞Á›·˜ ™ÔÊ›·˜ ÂÓ μ¢ ÁˆÓ›· ÙÂÙÚ·ÁÒÓÔ˘ ‚¿Ûˆ˜ Ù˘Ì¿ÓÔ˘ ÙÚÔ‡ÏÏÔ˘ ηٷÛÙÚ·Ê›ÛË Â͈ÙÂÚÈÎÒ˜, Ù· μ[fiÚÂÈ·] Î·È ¢[˘ÙÈο] ÙÔ˘ ÂÛˆÙÂÚÈÎÔ‡ ÌÂÁ¿Ï· ÙfiÍ· Î·È Ù· ÌÈÎÚfiÙÂÚ· ÙÔ˘ Ù˘Ì¿ÓÔ˘ ÙˆÓ ÂÚÚ¿ÁËÛ·Ó, Ë μ[ÔÚ›·˜] ÏÂ˘Ú¿˜ ÛÙ¤ÁË Á˘Ó·ÈΈӛÙÔ˘, ÙÔ ‹ÌÈÛ˘ ‰˘ÙÈ΋˜ Î·È ÛÙ¤ÁË ÙÚÔ˘ÏˆÙ‹ Έ‰ˆÓÔÛÙ·Û›Ô˘ ηÙÂÛÙÚ¿ÊË», Û‡Ìʈӷ Ì ÙËÏÂÁÚ·ÊÈ΋ ¤ÎıÂÛË ÙÔ˘ ÂÊfiÚÔ˘ ·Ú¯·ÈÔÙ‹ÙˆÓ ª·Î‰ÔÓ›·˜, Ô˘ ˘Ô‚Ï‹ıËΠÙËÓ Â·‡ÚÈÔÓ. ∏ ¤ÎıÂÛË ·Ó¤ÊÂÚ ·ÎfiÌË fiÙÈ ¿ÏÏÔ ‚Ï‹Ì· η٤ÛÙÚ„ ÙË ÛÙ¤ÁË ÙÔ˘ ÚÔÛÙÒÔ˘, fiÏ· Ù· ˘·ÏÔÈÓ¿ÎÈ· Î·È ÔÚÈṲ̂Ó˜ ÊÔÚËÙ¤˜ ÂÈÎfiÓ˜. Δ· ̈۷˚ο ‰ÂÓ ¤·ı·Ó Ù›ÔÙÂ. ΔÔ ÎfiÛÙÔ˜ ÙˆÓ ÂȉÈÔÚıÒÛÂˆÓ ·Ó¤Ï·‚Â Ë ÂÓÔÚȷ΋ ÂÈÙÚÔ‹.
The damage caused to Aghia Sophia by the Italian bombing, 1941
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.
k 162
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163 k
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ºÂ‚ÚÔ˘¿ÚÈÔ˜ 1947 [ʤÚÂÈ ÛÊÚ·Á›‰· ¢. A. X·ÚÈÛÈ¿‰Ë˜]
February 1947 [Stamped as: D. A. Charisiadis]
∏ ›ÛÔ‰Ô˜ Ù˘ ƒÔÙfiÓÙ·˜ Î·È Ë ·Ï·È¿ Ô‰fi˜ ºÈÏ›Ô˘, 1947
√ ʈÙÔÁÚ¿ÊÔ˜ ·ÂÈÎfiÓÈÛ ÙÔÓ ÂÚÈ‚¿ÏÏÔÓÙ· ¯ÒÚÔ Ù˘ ƒÔÙfiÓÙ·˜, ·fi ÙËÓ ÛÙ¤ÁË ÚÔÊ·ÓÒ˜ ÙÔ˘ ÌÓËÌ›Ԣ. ¢ÂÓ ·Ê‹ÓÂÈ ·ÌÊÈ‚Ôϛ˜ ÁÈ’ ·˘Ùfi Ë ¯·Ú·ÎÙËÚÈÛÙÈ΋ ›ÛÔ‰Ô˜ Î·È Ù· Ì·ÚÌ¿ÚÈÓ· ıÚ·‡ÛÌ·Ù· Ô˘ Â›Ó·È ·ÎÔ˘ÌÈṲ̂ӷ Á‡Úˆ Ù˘. ∏ ʈÙÔÁÚ·Ê›· Â›Ó·È ÌÔÓ·‰È΋ ·ÊÂÓfi˜ ·fi ÙËÓ ¿Ô„Ë Ù˘ ·ÔÙ‡ˆÛ˘ ÙˆÓ ·Ï·ÈÒÓ Î·ÙÔÈÎÈÒÓ Î·È Ù˘ ·˘ıÂÓÙÈ΋˜ ·Ú¯ÈÙÂÎÙÔÓÈ΋˜ ÙÔ˘˜ ·ÊÂÙ¤ÚÔ˘ ·fi ÙËÓ ÂÌÊ¿ÓÈÛË Ù˘ ·Ï·È¿˜ Ô‰Ô‡ ºÈÏ›Ô˘, Û ·ÓÙÈ·Ú·‚ÔÏ‹ ÚÔ˜ ÙË Ó¤· (Î·È ˘ÊÈÛÙ¿ÌÂÓË) Ù·˘ÙÒÓ˘ÌË Ô‰fi, Ë ÔÈÎÔ‰ÔÌÈ΋ ÁÚ·ÌÌ‹ Ù˘ ÔÔ›·˜ ‰È·ÎÚ›ÓÂÙ·È ÛÙ· ˘„ËÏfiÙÂÚ· (Î·È ÓÂfiÙÂÚ·) ÎÙ›ÛÌ·Ù· ÛÙ· ·ÚÈÛÙÂÚ¿. ∏ ‰È·Ûˆ˙fiÌÂÓË ¯ÚÔÓÔÏfiÁËÛË (1947) ‰ÂÓ ·ÓÙÈÊ¿ÛÎÂÈ ÚÔ˜ Ù· ÂÛˆÙÂÚÈο ¯·Ú·ÎÙËÚÈÛÙÈο Ù˘ ʈÙÔÁÚ·Ê›·˜.
The entrance of Rotonda and the old Philippou Street, 1947
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.
k 164
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165 k
71
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ÕÙÈÙÏË [ʤÚÂÈ ÛÊÚ·Á›‰· ¢. A. X·ÚÈÛÈ¿‰Ë˜]
Without Title [Stamped as: D. A. Charisiadis]
∏ £ÂÛÛ·ÏÔÓ›ÎË ‚ÔÚ›ˆ˜ Ù˘ Ô‰Ô‡ ºÈÏ›Ô˘, 1947
ŒÂÈÙ·, Ô ÊˆÙÔÁÚ¿ÊÔ˜ ÛÙÚ¿ÊËΠÚÔ˜ Ù· ‰ÂÍÈ¿ Î·È ··ı·Ó¿ÙÈÛ ÙËÓ ÂÚÈÔ¯‹ ‚ÔÚ›ˆ˜ Ù˘ Ô‰Ô‡ ºÈÏ›Ô˘. ª·˜ ÎÏËÚÔ‰fiÙËÛÂ, ¤ÙÛÈ, ÙË ÌÔÓ·‰È΋, ›Ûˆ˜, ‰È·ı¤ÛÈÌË ÌÂÙ·ÔÏÂÌÈ΋ ·ÂÈÎfiÓÈÛË ÙÔ˘ ‚ÔÚÂÈÔ·Ó·ÙÔÏÈÎÔ‡ ÙÌ‹Ì·ÙÔ˜ Ù˘ fiÏ˘ ÂÓÙfi˜ ÙˆÓ ÙÂȯÒÓ Î·È Ù˘ ·Ú¯ÈÙÂÎÙÔÓÈ΋˜ ÙÔ˘.
Thessaloniki at the north of Philippou Street, 1947
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 northeastern part of the city – within the walls –and its architecture.
k 166
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71
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167 k
72
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ÕÙÈÙÏË [ʤÚÂÈ ÛÊÚ·Á›‰· ¢. A. X·ÚÈÛÈ¿‰Ë˜]
Without Title [Stamped as: D. A. Charisiadis]
√‰fi˜ ∂ÁÓ·Ù›·, Ù¤ÏË ‰ÂηÂÙ›·˜ 1940
ΔÔ ·ÓÙÈΛÌÂÓÔ ÙÔ˘ ʈÙÔÁÚ¿ÊÔ˘ ‹Ù·Ó ›Ûˆ˜ Ë ∫·Ì¿Ú·, ‰ËÏ·‰‹ Ë ·„›‰· ÙÔ˘ °·ÏÂÚ›Ô˘. ∞ÏÏ¿ ÙÔ ÁˆÁÚ·ÊÈÎfi Î·È ÎÔÈÓˆÓÈÎfi ÂÚÈ‚¿ÏÏÔÓ Ô˘ ·ÔηχÙÂÈ Ë ÂÈÎfiÓ· Â›Ó·È ÈÔ ÂӉȷʤÚÔÓ, ÂÓ ÚÔÎÂÈ̤ӈ, ·fi ÙÔ ÔÏ˘ÊˆÙÔÁÚ·ÊË̤ÓÔ Î·È ‰È·Ûˆ˙ÒÌÂÓÔ ÌÓËÌ›Ô. ∏ Ï‹„Ë ¤¯ÂÈ ˆ˜ ¯ÚÔÓÈο fiÚÈ· ÙÔ 1938 (ÔfiÙÂ Î·È ·ÓÂÁ¤ÚıËΠÙÔ ÂÓÙ·fiÚÔÊÔ ÎÙ›ÚÈÔ ÛÙ· ·ÚÈÛÙÂÚ¿) Î·È ÙÔ 1952, ÔfiÙ ڷÁÌ·ÙÔÔÈ‹ıËÎÂ Ë ‰È·Ï¿Ù˘ÓÛË Ù˘ Ô‰Ô‡ ÚÔ˜ Ù· ‰ÂÍÈ¿ Î·È ÎfiËÎ·Ó Ù· ‡η (Ù˘ Ô‰Ô‡ ∂ÁÓ·Ù›·˜!). √È ÛÙÚ·ÙÈÒÙ˜ Ô˘ ÚÔ¯ˆÚÔ‡Ó ‚Ú›ÛÎÔÓÙ·È ÛÙÔ ‡„Ô˜ Ù˘ Ô‰Ô‡ ¶·Ï·ÈÒÓ ¶·ÙÚÒÓ °ÂÚÌ·ÓÔ‡. ∏ ÙÚÔ¯ÈÔ‰ÚÔÌÈ΋ ÁÚ·ÌÌ‹ ÂÍ·ÎÔÏÔ˘ı› Ó· ‰È¤Ú¯ÂÙ·È (̤¯ÚÈ ÙÔ 1952) οو ·fi ÙËÓ ·„›‰·. ∏ ÁÂÓÈ΋ ·›ÛıËÛË –Ï·Ì‚¿ÓÔÓÙ·˜ ˘fi„Ë ÙȘ ÂÓ‰˘Ì·Û›Â˜- Â›Ó·È fiÙÈ ÚfiÎÂÈÙ·È ÁÈ· Ù· Ù¤ÏË Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 1940. ¢ÂÓ ·ÔÎÏ›ÂÙ·È Ë Ï‹„Ë Ó· ¤ÁÈÓ ·fi ÙÔ ›‰ÈÔ ÚfiÛˆÔ Ô˘ ··ı·Ó¿ÙÈÛ ÙËÓ ÂÚÈÔ¯‹ Á‡Úˆ ·fi ÙË ƒÔÙfiÓÙ· ÙÔ 1947 (‚Ï. ÚÔËÁÔ‡ÌÂÓ˜ ʈÙÔÁڷʛ˜).
Egnatia Street, late 1940s
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).
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¶‡ÏË °·ÏÂÚ›Ô˘ [ʤÚÂÈ ÛÊÚ·Á›‰· ¶·‡ÏÔ˜ M˘ÏÒÊ]
Galerious Entrance [Stamped as: Pavlos Mylov]
∞„›‰· °·ÏÂÚ›Ô˘, 1955
∏ ‰È¿ÓÔÈÍË Ù˘ ∂ÁÓ·Ù›·˜ Î·È Ô Î·ı·ÚÈÛÌfi˜ Ù˘ ·„›‰·˜, Ô˘ Ú·ÁÌ·ÙÔÔÈ‹ıËÎ·Ó ÛÙ· Ù¤ÏË ÙÔ˘ 1952 Î·È ÙȘ ·Ú¯¤˜ ÙÔ˘ 1953, ›¯·Ó ÔÏÔÎÏËÚˆı› fiÙ·Ó ¤ÁÈÓÂ Ë Ï‹„Ë. ΔÔ 1955 Ô ÊˆÙÔÁÚ¿ÊÔ˜ °. §˘Î›‰Ë˜ ›¯Â ʈÙÔÁÚ·Ê‹ÛÂÈ ÙÔ ÌÓËÌÂ›Ô Î·È Â›¯Â Ï¿‚ÂÈ ÙËÓ ¤ÁÎÚÈÛË ·fi ÙËÓ ·ÚÌfi‰È· ˘ËÚÂÛ›· ÁÈ· Ó· ΢ÎÏÔÊÔÚ‹ÛÂÈ Î·ÚÙÔÛÙ¿Ï. ∏ ÂÈÎfiÓ· Ô˘ ‚Ï¤Ô˘Ì ı˘Ì›˙ÂÈ ¤ÓÙÔÓ· ÙȘ Ï‹„ÂȘ ÙÔ˘ §˘Î›‰Ë ÙÔ˘ ¤ÙÔ˘˜ ÂΛÓÔ˘. ª¤Û· ·fi ÙËÓ ·„›‰· ‰È·ÎÚ›ÓÂÙ·È ÙÔ ÙÚÈÒÚÔÊÔ ÎÙ›ÚÈÔ ÛÙË ÁˆÓ›· Ì ÙËÓ Ô‰fi ¶·Ï·ÈÒÓ ¶·ÙÚÒÓ °ÂÚÌ·ÓÔ‡, ÂÓÒ ÛÙ· ‰ÂÍÈ¿ (ÛÙË ÁˆÓ›· Ì ÙËÓ ∞ÔÛÙfiÏÔ˘ ¶·‡ÏÔ˘), ÙÔ Ê·ÚÌ·ÎÂ›Ô ¢ËÌ¿‰Ë.
Galerious Arch, 1955
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.
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ÕÙÈÙÏÔ
Without Title
∞„›‰· °·ÏÂÚ›Ô˘, ̤۷ ‰ÂηÂÙ›·˜ 1960
∏ Ï‹„Ë ¤ÁÈÓ ·fi ÙÔ ÍÂÓÔ‰Ô¯Â›Ô ∞μC, ÛÙËÓ Ï·Ù›· ™ÈÓÙÚÈ‚·Ó›Ô˘. ÃÚÔÓÔÏÔÁÂ›Ù·È ÌÂٷ͇ ÙˆÓ ÂÙÒÓ 1961 (ÔfiÙ ÎÙ›ÛıËÎÂ Ë ÔÏ˘ÒÚÔÊË ÔÈÎÔ‰ÔÌ‹ ÛÙË ÁˆÓ›· Ì ÙËÓ Ô‰fi ∞ÔÛÙfiÏÔ˘ ¶·‡ÏÔ˘, ÛÙË ı¤ÛË ÙÔ˘ Ê·Ú̷ΛԢ ¢ËÌ¿‰Ë: ‚Ï. ÙËÓ ÚÔËÁÔ‡ÌÂÓË ÊˆÙÔÁÚ·Ê›·), Î·È ÛÙÔ 1968, ÔfiÙ ÔÏÔÎÏËÚÒıËÎÂ Ô ÛÎÂÏÂÙfi˜ Ù˘ ÔÈÎÔ‰ÔÌ‹˜ ÙÔ˘ ÎÙÈÚ›Ô˘ Ù˘ ∂Δ∂, ÛÙË ÁˆÓ›· Ì ÙËÓ Ô‰fi ∫·Ì‚Ô˘Ó›ˆÓ (·ÚÈÛÙÂÚ¿: ÛÙÔ ÎÂÓfi, ·fi ÙÔ ÔÔ›Ô ·Ê‹ÓÂÙ·È Ó· ‰È·ÎÚÈı› Ë ‰È·ÊËÌÈÛÙÈ΋ ÈӷΛ‰· Ù˘ TWA). Δ· ·Ï·È¿ ÎÙ›ÛÌ·Ù· ÛÙ· ·ÚÈÛÙÂÚ¿ –Ô˘ Û‡ÓÙÔÌ· ÂÚfiÎÂÈÙÔ Ó· ηÙ‰·ÊÈÛÙÔ‡Ó- ‰Â›¯ÓÔ˘Ó ÙËÓ ·Ï·È¿ ÔÈÎÔ‰ÔÌÈ΋ ÁÚ·ÌÌ‹ (Û ÓÔËÙ‹ ¢ı›· Ì ÙËÓ ·„›‰· ÙÔ˘ °·ÏÂÚ›Ô˘). ∞ÎÚÈ‚Ò˜ ·¤Ó·ÓÙÈ ·fi ÙËÓ ·„›‰·, ‰È·ÎÚ›ÓÂÙ·È ¤Ó· ÙÌ‹Ì· ÙÔ˘ Ó·Ô‡ Ù˘ ¶·Ó·Á›·˜ ¢ÂÍÈ¿˜.
Galerious Arch, mid 1960s
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.
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¶‡ÏË °·ÏÂÚ›Ô˘
Galerious Entrance
¶ÂÚÈÁÚ·Ê‹ ÙÔ˘ ÌÓËÌ›Ԣ
∏ Ï‹„Ë Ú¤ÂÈ Ó· ¤ÁÈÓ ÌÂÙ¿ ÙÔÓ Î·ı·ÚÈÛÌfi ÙÔ˘ ÌÓËÌ›Ԣ (1953). ◊‰Ë, ‚¤‚·È·, ÂÚÈÁÚ·Ê‹ ÙÔ˘ ›¯Â ÂȯÂÈÚËı› ·fi ÙÔÓ 19Ô ·ÈÒÓ·. ™ÙËÓ ÎÔÚ˘Ê‹ ‚Ú›ÛÎÔÓÙ·È ˙ÒÓ˜ Ì ‰È·ÎÔÛÌËÙÈο ·Ó¿ÁÏ˘Ê·, ʇÏÏ· Î·È ·ÛÙÚ·Á¿ÏÔ˘˜. Δ· ·Ó¿ÁÏ˘Ê· Ô˘ ·ÎÔÏÔ˘ıÔ‡Ó Ì¤¯ÚÈ ÙË Ì·ÚÌ¿ÚÈÓË ‚¿ÛË Ù˘ ·„›‰·˜, Â›Ó·È ‰È·Ù·Á̤ӷ Û ˙ÒÓ˜, Ô˘ ¯ˆÚ›˙ÔÓÙ·È Ì ·Ó¿ÁÏ˘Ê· ÎÔÛÌ‹Ì·Ù·. ™ÙËÓ ·ÓÒÙÂÚË ˙ÒÓË È›˜ ÂÈÙ›ıÂÓÙ·È ÂÓ·ÓÙ›ÔÓ fiψ˜ Î·È ÂÈÛ¤Ú¯ÔÓÙ·È ·fi Ù· Ù›¯Ë. ™ÙË ‰Â‡ÙÂÚË ˙ÒÓË ·Ó··Ú›ÛÙ·Ù·È Ì¿¯Ë ÌÂٷ͇ ȤˆÓ. ™ÙËÓ ÙÚ›ÙË ˙ÒÓË ‚·ÛÈÏÈ¿˜ οıÂÙ·È ·Ó¿ÌÂÛ· Û ·ÍȈ̷ÙÔ‡¯Ô˘˜. Δ¤ÏÔ˜, Ë Î·ÙÒÙÂÚË ˙ÒÓË ÂÚÈÏ·Ì‚¿ÓÂÈ Ó›Î˜ Ô˘ ʤÚÔ˘Ó ÙÚfi·È·.
Description of the monument
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.
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¶‡ÏË °·ÏÂÚ›Ô˘
Galerious Entrance
°·Ï¤ÚÈÔ˜ ÂÓ·ÓÙ›ÔÓ ÙˆÓ ¶ÂÚÛÒÓ
∞fi Ù· Ù¤ÏË ÙÔ˘ 19Ô˘ ·ÈÒÓ·, ÔÈ ÂȉÈÎÔ› ÈÛÙÂ‡Ô˘Ó fiÙÈ Ë ·„›‰· ·ÊÈÂÚÒıËΠÛÙÔÓ °·Ï¤ÚÈÔ ÏfiÁˆ Ù˘ ӛ΢ ÙÔ˘ › ÙˆÓ ¶ÂÚÛÒÓ. Èڛ˜ Ó· ·ÔÎÏ›ÔÓÙ·È ¿ÏϘ ÂΉԯ¤˜, Ë ‰Â‡ÙÂÚË ÂÎ ÙˆÓ ¿Óˆ ˙ÒÓË Ô˘ ·ÂÈÎÔÓ›˙ÂÙ·È ÛÙË Û˘ÁÎÂÎÚÈ̤ÓË Ï‹„Ë, Ë Ì¿¯Ë ÌÂٷ͇ ȤˆÓ, ÌÔÚ› Ó· ÂÎÏËÊı› ˆ˜ ·Ó·Ì¤ÙÚËÛË ÌÂٷ͇ ƒˆÌ·›ˆÓ Î·È ¶ÂÚÛÒÓ.
Galerius against the Persians
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.
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ÕÙÈÙÏË
Without Title
¶·Ó·Á›· ÷ÏΤˆÓ, ‰ÂηÂÙ›· 1950
ÕÁÓˆÛÙÔ˜ ‚˘˙·ÓÙÈÓfi˜ Ó·fi˜, Ô˘ › Ù˘ ÔıˆÌ·ÓÈ΋˜ ÂÚÈfi‰Ô˘ ÌÂÙ·ÙÚ¿ËΠ۠٤ÌÂÓÔ˜. μÚ›ÛÎÂÙ·È ÛÙË ÁˆÓ›· ÙˆÓ Ô‰ÒÓ ∂ÁÓ·Ù›·˜ Î·È Ã·ÏΤˆÓ. ∫·Ù¿ Ì›· ¿Ô„Ë, ÔÈ ÙÔȯÔÁڷʛ˜ Ô˘ ·ÔηχÊıËÎ·Ó ˘Ô‰ËÏÒÓÔ˘Ó fiÙÈ ‹Ù·Ó Ó·fi˜ Ù˘ ¶·Ó·Á›·˜ Î·È ÂÓ‰¤¯ÂÙ·È Ó· ‹Ù·Ó ηıÔÏÈÎfi ÌÔÓ‹˜. ªÂÙ¿ ÙËÓ ·ÂÏ¢ı¤ÚˆÛË, Ô Ó·fi˜ ηı·ÁÈ¿ÛÙËΠÙÈÌÒÌÂÓÔ˜ ÛÙÔ fiÓÔÌ· Ù˘ ¶·Ó·Á›·˜ ÙˆÓ Ã·ÏΤˆÓ (Ë ÔÓÔÌ·Û›· ÙÔ˘ ÙÂ̤ÓÔ˘˜ ‹Ù·Ó «Δ¤ÌÂÓÔ˜ ÙˆÓ Ã·ÏΤˆÓ»). ∏ È‰Ú˘ÙÈ΋ ÂÈÁÚ·Ê‹ ÙÔ˘ ÛÙÔ ˘¤Úı˘ÚÔ Ù˘ ÂÈÛfi‰Ô˘ ‰Â›¯ÓÂÈ fiÙÈ ·ÓÂÁ¤ÚıËΠÛÙ· 1028 Û «ÚÈÓ ‚¤‚ËÏÔÓ ÙfiÔÓ». ∏ ‰È·ÊÔÚ¿ Ù˘ ÛÙ¿ıÌ˘ ÙÔ˘ ÂȤ‰Ô˘ ÙÔ˘ Ó·Ô‡ ·fi ÙÔ ÛËÌÂÚÈÓfi Â›Â‰Ô ÙÔ˘ ‰ÚfiÌÔ˘ Ì·ÚÙ˘Ú› ÙȘ ÌÂÙ·‚ÔϤ˜ Ô˘ ˘¤ÛÙË ÙÔ ·Ó¿ÁÏ˘ÊÔ Ù˘ fiÏ˘, ÂȉÈο ÛÙÔ ÛËÌÂ›Ô ·˘Ùfi. ∏ Ï‹„Ë –·Ó ÎÚ›ÓÔ˘Ì ·fi ÙËÓ Â˘¯¤ÚÂÈ· Ì ÙËÓ ÔÔ›· ΢ÎÏÔÊÔÚÔ‡Ó Î¿Ú·, Ô‰‹Ï·Ù· Î·È Î·ÚfiÙÛÈ·, ηıÒ˜ Î·È ·fi ÙË ÁÚ·ÌÌ‹ ÙÔ˘ ÙÚ·Ì, ·fi ÙÔ˘˜ Ù‡Ô˘˜ ÙˆÓ ÙÚÔ¯ÔÊfiÚˆÓ, ·fi ÙË ÛÙÔÏ‹ ÙÔ˘ ÌÈÎÚÔˆÏËÙ‹ (›Ûˆ ·fi ÙÔÓ Ô‰ËÏ¿ÙË) Î·È ·fi Ù· ÏÔÈ¿ ÛÙÔȯ›· Ù˘ ʈÙÔÁÚ·Ê›·˜, Â›Ó·È ÙˆÓ Ì¤ÛˆÓ Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 1950.
Panagia Chalkeon, 1950s
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.
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£ÂÛÛ·ÏÔÓ›ÎË, ÁÂÓÈ΋ ¿Ô„Ș 1.3.1963
Thessaloniki, a general view 1.3.1963
ΔÔ ÚÔ·‡ÏÈÔ Ù˘ ¶·Ó·Á›·˜ ÙˆÓ Ã·ÏΤˆÓ Î·È ÙÔ ª¤Ë ÷̿Ì, 1963
ª¿ÏÏÔÓ ·fi ÛηψÛÈ¿ Ù˘ ¶·Ó·Á›·˜ ÙˆÓ Ã·ÏΤˆÓ, Ô ÊˆÙÔÁÚ¿ÊÔ˜ ·ÂÈÎfiÓÈÛ ÙÔÓ ÂÈÌÂÏË̤ÓÔ Î‹Ô ÙÔ˘ Ó·Ô‡, ÙÔ Î¿Ùˆ ̤ÚÔ˜ Ù˘ ¶Ï·Ù›·˜ ¢ÈηÛÙËÚ›ˆÓ Î·È ÙÔ ª¤Ë Ã·Ì¿Ì (ÁÓˆÛÙfi ÛÙÔ˘˜ ÓÂfiÙÂÚÔ˘˜ £ÂÛÛ·ÏÔÓÈΛ˜ ˆ˜ «§Ô˘ÙÚ¿ ¶·Ú¿‰ÂÈÛÔ˜»), ÎÙ›ÛÌ· ÙÔ˘ 15Ô˘ ·ÈÒÓ·. ¢ÂÍÈ¿ Ë Ô‰fi˜ ∂ÁÓ·Ù›·. ∏ ·Ô‰È‰fiÌÂÓË ¯ÚÔÓÔÏÔÁ›· Û˘Ì‚·‰›˙ÂÈ Ì ÙÔ ÂÚȯfiÌÂÓÔ Ù˘ ʈÙÔÁÚ·Ê›·˜. [™ÙÔ ÏÔ˘ÙÚfi Ô Î·ı·ÚÈÛÌfi˜ Á›ÓÂÙ·È Ì ÓÂÚfi, ÛÙÔ ¯·Ì¿Ì Ì ·ÙÌfi].
The courtyard of Panagia Chalkeon and Bey Hamam, 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].
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ÕԄȘ £ÂÛÛ·ÏÔӛ΢
A view of Thessaloniki
ªÓËÌ›· Ù˘ fiÏ˘ ̤۷ ÛÙÔÓ ·ÛÙÈÎfi ÈÛÙfi, ‰ÂηÂÙ›· 1950
ª›· Ï‹„Ë ·fi ÙËÓ ¿Óˆ fiÏË, ›Ûˆ˜ ÙË ÌÔÓ‹ μÏ·Ù¿‰ˆÓ, Û˘ÏÏ·Ì‚¿ÓÂÈ Ì¤Û· ÛÙÔÓ ·ÛÙÈÎfi ÈÛÙfi Ù¤ÛÛÂÚ· ÌÓËÌ›· Î·È Î·Ù·ÁÚ¿ÊÂÈ ÙË Û¯¤ÛË ÙÔ˘˜ Ì ÙÔÓ ÂÚÈ‚¿ÏÏÔÓÙ· ¯ÒÚÔ. ∫ÂÓÙÚÈ΋ ı¤ÛË ¤¯ÂÈ Ô ÕÁÈÔ˜ ¢ËÌ‹ÙÚÈÔ˜. ¶Ôχ ÎÔÓÙ¿ ÙÔ˘, ÙÔ °ÂÓ› [¡¤Ô] ÷̿Ì, › Ù˘ Ô‰Ô‡ ∫·ÛÛ¿Ó‰ÚÔ˘, Î·È Ï›ÁÔ ÈÔ ·ÚÈÛÙÂÚ¿ ÙÔ ∞Ï·Ù˙¿ πÌ·Ú¤Ù, ÎÙ›ÛÌ·Ù· ÙÔ˘ 15Ô˘/16Ô˘ ·ÈÒÓ· Ô˘ ‰È·ÎÚ›ÓÔÓÙ·È ·fi ÙÔ˘˜ ÙÚÔ‡ÏÔ˘˜ ÙÔ˘˜. ™ÙÔ ‰ÂÍÈfi ̤ÚÔ˜ ÙË ÊˆÙÔÁÚ·Ê›·˜ ‰È·ÎÚ›ÓÂÙ·È Ô ¿ÁÓˆÛÙÔ˜ ‚˘˙·ÓÙÈÓfi˜ Ó·fi˜ Ô˘ ÙÈÌ¿Ù·È ÛÙÔ fiÓÔÌ· ÙÔ˘ ¶ÚÔÊ‹ÙË ∏Ï›·. μÔÚ›ˆ˜ ÙÔ˘ ∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘ ‰È·ÙËÚÔ‡ÓÙ·È Ù· ·Ï·È¿ Û›ÙÈ· Î·È Ë Ú˘ÌÔÙÔÌ›· ÙÔ˘ 19Ô˘ ·ÈÒÓ·. ™ÙË ÊˆÙÔÁÚ·Ê›· Ô ÕÁÈÔ˜ ¢ËÌ‹ÙÚÈÔ˜ ¤¯ÂÈ ÌÂÓ ·ÔηٷÛÙ·ı› ·fi ÙȘ ˙Ë̛˜ Ù˘ ˘ÚηÁÈ¿˜ ÙÔ˘ 1917, ·ÏÏ¿ ÛÙËÓ Ô‰fi ∫·ÛÛ¿Ó‰ÚÔ˘ ‰ÂÓ ¤¯Ô˘Ó ·ÓÂÁÂÚı› ÔÏ˘Î·ÙÔÈ˘, ÛÙÔȯ›· Ô˘ ÙÔÔıÂÙÔ‡Ó ¯ÚÔÓÈο ÙË Ï‹„Ë ÛÙË ‰ÂηÂÙ›· ÙÔ˘ 1950.
Monuments of the city within the urban tissue, 1950s
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.
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ÕÁÈÔ˜ ¢ËÌ‹ÙÚÈÔ˜, 1940
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Aghios Dimitrios, 1940
√ ÕÁÈÔ˜ ¢ËÌ‹ÙÚÈÔ˜ ÌÂÙ¿ ÙÔ 1948
√ ‚˘˙·ÓÙÈÓfi˜ Ó·fi˜ ÙÔ˘ ∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘ ηٷÛÙÚ¿ÊËΠηٿ ÙËÓ ˘ÚηÁÈ¿ ÙÔ˘ 1917. ∏ ·ÔηٿÛÙ·Û‹ ÙÔ˘ Û˘Ó‰¤ıËΠ̠ÏËıÒÚ· ÚÔ‚ÏËÌ¿ÙˆÓ. ∏ ÚÒÙË ·Ó·ÛÙËψÙÈ΋ Ê¿ÛË ‰È‹ÚÎÂÛ ˆ˜ ÙÔ 1937. ™ÙË Û˘Ó¤¯ÂÈ· Ë ·ÔηٿÛÙ·ÛË ‰È·ÎfiËΠÏfiÁˆ ÙˆÓ ‰ÂÈÓÒÓ ÂÚÈÛÙ¿ÛÂˆÓ Î·È Â·Ó·Ï‹ÊıËΠÙÔ 1946, fiÙ·Ó Û˘ÛÙ‹ıËΠȉȷ›ÙÂÚÔ˜ ÔÚÁ·ÓÈÛÌfi˜ ÁÈ· ÙË Û˘ÁΤÓÙÚˆÛË ÙˆÓ ·Ó·Áη›ˆÓ fiÚˆÓ. ŒÚ·ÓÔÈ Î·È Û˘ÛÙËÌ·ÙÈ΋ ÚÔÛ¤Ï΢ÛË ÂÈÛÊÔÚÒÓ, ηıÒ˜ Î·È Ë ÂÓ›Û¯˘ÛË ÙÔ˘ ¢‹ÌÔ˘ £ÂÛÛ·ÏÔӛ΢ Î·È ÙÔ˘ ∂ÌÔÚÈÎÔ‡ Î·È μÈÔÌ˯·ÓÈÎÔ‡ ∂ÈÌÂÏËÙËÚ›Ô˘, ‰ÂÓ Â¿ÚÎÂÛ·Ó ÁÈ· ÙË Û˘ÁΤÓÙÚˆÛË ÙÔ˘ ÔÛÔ‡. ΔÔ ÔÈÎÔÓÔÌÈÎfi Úfi‚ÏËÌ· χıËΠfiÙ·Ó Ù· Δ·¯˘‰ÚÔÌ›· ΢ÎÏÔÊfiÚËÛ·Ó ÂȉÈÎfi ÁÚ·ÌÌ·ÙfiÛËÌÔ ÁÈ· ÙËÓ ·Ó·ÛًψÛË ÙÔ˘ Ó·Ô‡, ÛÙÔÓ ÔÔ›ÔÓ ÂÚÈ‹Ïı ÔÛÔÛÙfi 45% ÙˆÓ ÂÛfi‰ˆÓ. ŒÙÛÈ, Ì ÌÂÁ·ÏÔÚ¤ÂÈ· ¤ÁÈÓ·Ó Ù· ÂÁη›ÓÈ· ÙÔ˘ Ó·Ô‡ ÙÔ 1948, Ì ÙËÓ ·ÚÔ˘Û›· Ù˘ ÔÏÈÙÈ΋˜ ËÁÂÛ›·˜ Ù˘ ¯ÒÚ·˜. ∏ Ï‹„Ë Ù˘ ʈÙÔÁÚ·Ê›·˜ ¤¯ÂÈ ˆ˜ terminus ante quem ·˘Ù‹ ÙË ¯ÚÔÓÔÏÔÁ›·, ‰ÈfiÙÈ fi¯È ÌfiÓÔÓ Ë ÛÙ¤ÁË Â›Ó·È ÔÏÔÎÏËڈ̤ÓË (·ÔÚÚfiÊËÛ ÌÂÁ¿ÏÔ Ì¤ÚÔ˜ Ù˘ ÚÔÛ¿ıÂÈ·˜ ηٿ ÙË ‰Â‡ÙÂÚË ·Ó·ÛÙËψÙÈ΋ Ê¿ÛË), ·ÏÏ¿ Î·È Ô ÂÚÈ‚¿ÏÏˆÓ ¯ÒÚÔ˜ Â›Ó·È ‰È·ÌÔÚʈ̤ÓÔ˜. Δ· Ì¿ÚÌ·Ú·, Ô˘ ‚Ú›ÛÎÔÓÙ·È Û˘ÁÎÂÓÙڈ̤ӷ ·ÚÈÛÙÂÚ¿ ÛÙËÓ ·˘Ï‹, ÚÔ¤Ú¯ÔÓÙ·È ·fi ÙÔ Î·ÙÂÛÙÚ·Ì̤ÓÔ Â‚Ú·˚Îfi ÎÔÈÌËÙ‹ÚÈÔ. ™ÙËÓ ·˘Ï‹, ·ÎfiÌË, ‰È·ÎÚ›ÓÂÙ·È Ë ÊÈ¿ÏË ÙÔ˘ Ó·Ô‡. μÔÚÂÈÔ·Ó·ÙÔÏÈο, ͯˆÚ›˙Ô˘Ó ÔÈ ÙÚÔ‡ÏÔÈ ÙÔ˘ °ÂÓ› ÷̿Ì. Δ¤ÏÔ˜, ÛÙÔ ‰ÂÍÈfi ¿Óˆ ¿ÎÚÔ Ù˘ ʈÙÔÁÚ·Ê›·˜ Ê·›ÓÂÙ·È Ë ÊÈ¿ÏË ÙÔ˘ ∞Ï·Ù˙¿ πÌ·Ú¤Ù (‰ÂÓ ˘Ê›ÛÙ·Ù·È Ï¤ÔÓ). ™Â ÚÒÙÔ Ï¿ÓÔ: ‰ÂÍÈ¿ Ë Ô‰fi˜ ª·Î‰ÔÓÈ΋˜ ∞̇Ó˘ Î·È ·ÚÈÛÙÂÚ¿ –·‰È·ÌfiÚʈÙÔ˜ ·ÎfiÌË- Ô ¯ÒÚÔ˜ ÙÔ˘ ÌÈÎÚÔ‡ ¿ÚÎÔ˘, fiÔ˘ ¿ÏÏÔÙ ‚ÚÈÛÎfiÙ·Ó Ô ÕÁÈÔ˜ ¡¤ÛÙÔÚ·˜.
Aghios Dimitrios after 1948
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.
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∏ fiÏȘ ‹ÎÌ·Û ˆ˜ ‚˘˙·ÓÙÈÓfiÓ Î¤ÓÙÚÔÓ. ∂Î ÙÔ˘ ÏfiÁÔ˘ ·˘ÙÔ‡, ‰È·ÙËÚ› Û‹ÌÂÚÔÓ Ù· ÂÚÈÛÛfiÙÂÚ· ÂÎ ÙˆÓ ¤ÚÁˆÓ Ù˘ ‚˘˙·ÓÙÈÓ‹˜ Ù¤¯Ó˘. ∞ÓÙÈÚÔÛˆÂ˘ÙÈÎfiÓ ÙˆÓ ¤ÚÁˆÓ ·˘ÙÒÓ Â›Ó·È Î·È Ô Ó·fi˜ ÙÔ˘ ∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘, ÔÏÈÔ‡¯Ô˘
The city was a prosperous centre of the Byzantine era. Thus, nowadays it preserves most of its works of Byzantine art. Representative of these works is the temple of Aghios Dimitrios, patron saint of the city
ÕÁÈÔ˜ ¢ËÌ‹ÙÚÈÔ˜, ‰ÂηÂÙ›· 1950
∏ ‰˘ÙÈ΋ ÏÂ˘Ú¿ ÙÔ˘ Ó·Ô‡ ÙÔ˘ ∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘. ∏ ÂÈÎfiÓ· Û˘ÌÏËÚÒÓÂÈ ÙËÓ ÚÔËÁÔ‡ÌÂÓË ˆ˜ ÚÔ˜ ÙËÓ ·›ÛıËÛË Ù˘ «ÎÂÓ‹˜ fiÏ˘». √ ÔÓËÏ¿Ù˘, ›Ûˆ˜ Ï·Ófi‰ÈÔ˜ ¤ÌÔÚÔ˜, ‚·‰›˙ÂÈ ÛÙÔ Â˙Ô‰ÚfiÌÈÔ. ÿÛˆ˜ ÚÔÂÙÔÈÌ¿˙ÂÙ·È Ó· ·ÓËÊÔÚ›ÛÂÈ ÁÈ· ÙËÓ Ô‰fi ∫·ÛÛ¿Ó‰ÚÔ˘ ·fi Ù· ÛηÏÔ¿ÙÈ· Ô˘ ÂÚÓÔ‡Ó ÛÙ· ‰˘ÙÈο ÙÔ˘ Ó·Ô‡. ∏ Ô‰fi˜ ∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘ Â›Ó·È ÏÈıfiÛÙÚˆÙË, fiˆ˜ ‹Ù·Ó Î·È Ë ·Ú¿ÏÏËÏfi˜ Ù˘ Ô‰fi˜ ∫·ÛÛ¿Ó‰ÚÔ˘.
Aghios Dimitrios, 1950s
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.
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æËÊȉˆÙfi Ó·Ô‡ ∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘ ÔÏÈÔ‡¯Ô˘, 20.3.1963
A mosaic from the temple of Aghios Dimitrios, patron saint of the city, 20.3.1963
ΔÔ „ËÊȉˆÙfi ÙÔ˘ ∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘ Ì ÙÔ˘˜ ÎÙ›ÛÙ˜ (Ï‹„Ë 1963)
£ÂˆÚÂ›Ù·È ˆ˜ ¤Ó· ·fi Ù· ·Ï·ÈfiÙÂÚ· Ô˘ ‰È·ÛÒ˙ÔÓÙ·È ÛÙÔÓ Ó·fi. √ ÕÁÈÔ˜ ¢ËÌ‹ÙÚÈÔ˜ ¤¯ÂÈ ‰ÂÍÈ¿ ÙÔ˘ ÙÔÓ ·Ú¯È›ÛÎÔÔ Î·È ·ÚÈÛÙÂÚ¿ ÙÔ˘ ÙÔÓ ¤·Ú¯Ô Ù˘ £ÂÛÛ·ÏÔӛ΢. √È ‰‡Ô ·˘Ù¤˜ ÌÔÚʤ˜ ÂÎÊÚ¿˙Ô˘Ó ÂΛÓÔ˘˜ Ô˘ ÊÚfiÓÙÈÛ·Ó ÁÈ· ÙËÓ ·ÓÔÈÎÔ‰fiÌËÛË ÙÔ˘ Ó·Ô‡, ÌÂÙ¿ ÙËÓ Î·Ù·ÛÙÚÔÊ‹ ÙÔ˘ ηٿ ÙÔÓ ¤‚‰ÔÌÔ ·ÈÒÓ·. √ ¿ÁÈÔ˜ ·ÎÔ˘Ì¿ Ù· ¯¤ÚÈ· ÙÔ˘ ÛÙÔ˘˜ ÒÌÔ˘˜ ÙÔ˘˜. ∏ ÂÈÁÚ·Ê‹ ÙÔ˘ ÁÏ˘ÙÔ‡ ¤¯ÂÈ ˆ˜ ÂÍ‹˜: «∫Ù›ÛÙ·˜ ıˆÚ›˜ ÙÔ˘˜ ·ÓÂÓ‰fiÍÔ˘ ‰fiÌÔ˘ ÂΛıÂÓ ¤ÓıÂÓ Ì¿ÚÙ˘ÚÔ˜ ¢ËÌËÙÚ›Ô˘/ ÙÔÓ ‚¿Ú‚·ÚÔÓ Îχ‰ˆÓ· ‚·Ú‚¿ÚˆÓ ÛÙfiÏˆÓ ÌÂÙ·ÙÚ¤ÔÓÙÔ˜ Î·È fiÏÈÓ Ï˘ÙÚÔ˘Ì¤ÓÔ˘»
The mosaic of Aghios Dimitrios featuring the founders (shot in 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".
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Δ· ‰ËÌfiÛÈ· ÏÔ˘ÙÚ¿ Ù˘ fiψ˜ ¯ÚÔÓÔÏÔÁÔ‡ÓÙ·È ·fi ÙË ‚˘˙·ÓÙÈÓ‹ ÂÚ›Ô‰Ô Î·È ·ÔÙÂÏÔ‡Ó ·ÍÈfiÏÔÁ· ¤ÚÁ· Ù˘ Ù¤¯Ó˘
The public baths of the city date back to the Byzantine era and constitute remarkable works of art
∏ Û΋ ÙÔ˘ ÌÂ˙ÂÛÙÂÓ›Ô˘ Ù˘ £ÂÛÛ·ÏÔӛ΢ (Ï‹„Ë ‰ÂηÂÙ›·˜ 1960)
ΔÔ ÌÂ˙ÂÛÙ¤ÓÈ (Ù˘È΋ ÎÏÂÈÛÙ‹ ·ÁÔÚ¿ ÔÏ˘Ù›ÌˆÓ ÂȉÒÓ) Ù˘ £ÂÛÛ·ÏÔӛ΢ ·ÓÂÁ¤ÚıËΠÛÙȘ ÚÒÙ˜ ‰ÂηÂٛ˜ ÌÂÙ¿ ÙËÓ ÔıˆÌ·ÓÈ΋ ηٿÎÙËÛË Ù˘ fiÏ˘ (1430), ÛÙË ÛËÌÂÚÈÓ‹ Ô‰fi μÂÓÈ˙¤ÏÔ˘, Ï›ÁÔ ‚ÔÚÂÈfiÙÂÚ· ·fi ÙË ÛËÌÂÚÈÓ‹ Ô‰fi ∂ÚÌÔ‡. ∂Í·ÎÔÏÔ˘ı› Ó· ¯ÚËÛÈÌÔÔÈÂ›Ù·È (Ì ÔÏϤ˜ ÌÂÙ·ÙÚÔ¤˜) ·ÎfiÌË Î·È Û‹ÌÂÚ·. ∏ ÔÈÎÔ‰ÔÌ‹ Ì ÙÔ˘˜ ÚÔÂͤ¯ÔÓÙ˜ ˘·ÏÔÊÚ¿ÎÙ˜, ÛÙ· ‰ÂÍÈ¿ (̤Á·ÚÔ «∂ÚÌ›ÔÓ»: ÔÈÎÔ‰ÔÌ‹ıËΠÙÔ 1925), ÂÍ·ÎÔÏÔ˘ı› Ó· ˘Ê›ÛٷٷÈ, ÙÔ ›‰ÈÔ Î·È Ë ÔÈÎÔ‰ÔÌ‹ ÛÙË ÁˆÓ›· Ì ÙËÓ ∂ÚÌÔ‡ (ª¤Á·ÚÔ ™›ÁÁÂÚ: ‚Ï. ÛÙËÓ ÂfiÌÂÓË ÂÓfiÙËÙ·). ¢ÂÓ ˘Ê›ÛÙ·ÓÙ·È Ï¤ÔÓ Ù· ‰‡Ô ÎÙ›ÚÈ· ÛÙ· ·ÚÈÛÙÂÚ¿, ·¤Ó·ÓÙÈ ·fi ÙÔ ÌÂ˙ÂÛÙ¤ÓÈ, ÂÎ ÙˆÓ ÔÔ›ˆÓ ÙÔ ÌÂÛ·›Ô («∫¿Ô˘Ê ÃÔÊ») ‹Ù·Ó ÙÔ Ì¤Á·ÚÔ Ù˘ ∂ÌÔÚÈ΋˜ ∂ÓÒÛˆ˜. ∏ ∂ÌÔÚÈ΋ ŒÓˆÛË ¤·„ ӷ ÏÂÈÙÔ˘ÚÁ› ÙÔ 1959 Î·È ÙÔ «∫¿Ô˘Ê ÃÔÊ» ÂÁηٷÛÙ¿ıËΠÛÙÔ ÎÙ›ÚÈÔ ÙÔ 1961. √È ÏËÚÔÊÔڛ˜ ·˘Ù¤˜ Ì·˜ ‚ÔËıÔ‡Ó Ó· ¯ÚÔÓÔÏÔÁ‹ÛÔ˘Ì ÙË Ï‹„Ë ÌÂÙ¿ ÙÔ 1961.
The roof of Bezesteni of Thessaloniki (shot in 1960s)
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.
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ΔÔ ÎÙ›ÚÈÔ ÙÔ˘ ˘Ô˘ÚÁ›Ԣ μÔÚ›Ԣ ∂ÏÏ¿‰Ô˜
The building of the Ministry of Northern Greece
ΔÔ ¢ÈÔÈÎËÙ‹ÚÈÔ Ù˘ £ÂÛÛ·ÏÔӛ΢, Ï‹„Ë ÚÈÓ ·fi ÙÔ 1912
ΔÔ ÛËÌÂÚÈÓfi ÎÙ›ÚÈÔ ÙÔ˘ ÀÔ˘ÚÁ›Ԣ ª·Î‰ÔÓ›·˜ - £Ú¿Î˘, › Ù˘ Ô‰Ô‡ ∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘, ÁÓˆÛÙfi ˆ˜ «¢ÈÔÈÎËÙ‹ÚÈÔ», ¿Ú¯ÈÛ ӷ ¯Ù›˙ÂÙ·È ÙÔ 1891 –ÛÙË ı¤ÛË ÚÔËÁÔ‡ÌÂÓÔ˘ ‰ÈÔÈÎËÙËÚ›Ô˘- Î·È ÔÏÔÎÏËÚÒıËΠÙÔ ¤ÙÔ˜ 1895. ΔÔ ·Ú¯ÈÎfi ÎÙ‹ÚÈÔ ‹Ù·Ó ηٿ ¤Ó· fiÚÔÊÔ ¯·ÌËÏfiÙÂÚÔ ·fi ÙË ÛËÌÂÚÈÓ‹ ÌÔÚÊ‹ ÙÔ˘. ™ÙÔ ÈÛfiÁÂÈÔ ‚Ú›ÛÎÔÓÙ·Ó Ù· ‰ËÌÔÙÔÏfiÁÈ·, Ù· ·Ó·ÎÚÈÙÈο ÁÚ·Ê›· Î·È ÙÔ ÏËÌÌÂÏÂÈÔ‰ÈΛÔ, Ë ÌÂÁ¿ÏË ·›ıÔ˘Û· ÙÔ˘ ÏÔÁÈÛÙËÚ›Ô˘ Î·È ÙÔ ÁÚ·ÊÂ›Ô ÙÔ˘ ÔÈÎÔÓÔÌÈÎÔ‡ ÂÊfiÚÔ˘. ∂›Û˘, ÙÔ ÎÙËÌ·ÙÔÏfiÁÈÔ, ÙÔ ˘ÔıËÎÔÊ˘Ï·ÎÂ›Ô Î·È ÙËÓ ˘ËÚÂÛ›· ‰È·¯Â›ÚÈÛ˘ ÙˆÓ ‚·ÎÔ˘Ê›ˆÓ. ™ÙÔ ·ÓÒÁÂÈÔ ‚ÚÈÛÎfiÙ·Ó Ë ÌÂÁ¿ÏË ·›ıÔ˘Û· ÙÔ˘ ÓÔ̷گȷÎÔ‡ Û˘Ì‚Ô˘Ï›Ô˘, Ë ¢È‡ı˘ÓÛË ∂͈ÙÂÚÈÎÒÓ ÀÔı¤ÛˆÓ, Ë ‰È‡ı˘ÓÛË Ù˘ ·ÛÙ˘ÓÔÌ›·˜, ÙÔ ÚˆÙÔ‰ÈÎÂ›Ô Î·È ÙÔ ÂÌÔÚÔ‰ÈΛÔ. Δ¤ÏÔ˜, ÛÙÔ ‰Â‡ÙÂÚÔ ¿ÙˆÌ· ÛÙÂÁ·˙fiÙ·Ó ÙÔ ÈÂÚÔ‰ÈÎÂ›Ô Î·È ÙÔ Û˘Ì‚ÔÏ·ÈÔÁÚ·Ê›Ô.
"Diikitirio" (i.e. Residency) of Thessaloniki, shot before 1912
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.
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21 ª·›Ô˘ 1916. √ ÂÈÎÂÊ·Ï‹˜ ÙˆÓ ÛÙÚ·ÙÂ˘Ì¿ÙˆÓ Ù˘ «∞ÓÙ¿ÓÙ» Á¿ÏÏÔ˜ ÛÙÚ·ÙËÁfi˜ ™·Ú¿ÈÁ ÎËÚ‡ÛÛÂÈ ÛÙÚ·ÙȈÙÈÎfi ÓfiÌÔ
21 May 1916, The Chief of the "Entente" army, the French General Saralle, imposes a martial law
™ÙËÓ Â›ÛÔ‰Ô ÙÔ˘ ¢ÈÔÈÎËÙËÚ›Ô˘
∏ ÛÎËÓ‹ ‰È·‰Ú·Ì·Ù›˙ÂÙ·È ÛÙËÓ ¤ÍÔ‰Ô ÙÔ˘ ÚÔ·˘Ï›Ô˘ ÙÔ˘ ‰ÈÔÈÎËÙËÚ›Ô˘, ÛÙÔ ÔÔ›Ô ÌÂÙ¿ ÙËÓ ·ÂÏ¢ı¤ÚˆÛË Ù˘ £ÂÛÛ·ÏÔӛ΢ (√ÎÙÒ‚ÚÈÔ˜ 1912), ¤¯Ô˘Ó ÂÁηٷÛÙ·ı› Ù· ÁÚ·Ê›· Ù˘ °ÂÓÈ΋˜ ¢ÈÔÈ΋Ûˆ˜ ª·Î‰ÔÓ›·˜, Ù˘ ¡ÔÌ·Ú¯›·˜ £ÂÛÛ·ÏÔӛ΢ Î·È ¿ÏÏˆÓ ‰ËÌfiÛÈˆÓ ˘ËÚÂÛÈÒÓ. ΔÔÓ ª¿ÚÙÈÔ ÙÔ˘ 1915 ηٷÚÁ‹ıËÎ·Ó ·fi ÙË ‚Ú·¯‡‚È· ΢‚¤ÚÓËÛË ¢ËÌËÙÚ›Ô˘ °Ô‡Ó·ÚË fiϘ ÔÈ ˘ÊÈÛÙ¿ÌÂÓ˜ ÁÂÓÈΤ˜ ‰ÈÔÈ΋ÛÂȘ. ŒÙÛÈ, Ô ·ÓÒÙÂÚÔ˜ ÎÚ·ÙÈÎfi˜ ÏÂÈÙÔ˘ÚÁfi˜ ÛÙÔ ¢ÈÔÈÎËÙ‹ÚÈÔ ‹Ù·Ó Ô ÓÔ̿گ˘. ø˜ Û˘Ó¤ÂÈ· Ù˘ ·Ú¿‰ÔÛ˘ ÙÔ˘ ƒÔ‡ÂÏ, ÛÙȘ 21.5.1916 Ô ™·Ú¿ÈÁ ΋ڢÍ ÛÙÚ·ÙȈÙÈÎfi ÓfiÌÔ Î·È Î·Ù¤Ï·‚ ÙÔ ¢ÈÔÈÎËÙ‹ÚÈÔ. ∂ÏÏËÓÈ΋ ÛÙÚ·ÙȈÙÈ΋ ÌÔÓ¿‰· ·Ô¯ˆÚ› ˘fi ÙËÓ ·ÂÈÏ‹ ÙˆÓ fiψÓ. ¶¿ÓÙˆ˜, ÔÈ °¿ÏÏÔÈ Ù˘ ·Ô‰›‰Ô˘Ó ÙÈ̤˜, ηٿ ÙËÓ ÛÙÚ·ÙȈÙÈ΋ ‰ÂÔÓÙÔÏÔÁ›·.
At entrance gate of “Diikitirio” (i.e. Residency)
The scene takes place at the residency yard exit, where – after the liberation of Thessaloniki (October 1912) – the headquarters of the General Commandership of Thessaloniki had been housed, along with other public services. In March 1915, Mr. Dimitriou Gounari’s short lived government rescinded all the general commanderships. Thus, the higher public servant at the Residency was the Prefect. As a consequence of the surrendering of Roupel, on 21.5.1916, Saralle imposed a martial law and occupied the Residency. A Greek outfit leaves at gunpoint. Anyway, the French honour them, according to military ethics.
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ΔÔ ¢ÈÔÈÎËÙ‹ÚÈÔ
Diikitirio
ΔÔ ¢ÈÔÈÎËÙ‹ÚÈÔ ÌÂÙ¿ ÙËÓ Î·ı’ ‡„Ô˜ ¤ÎÙ·ÛË (1955-1960)
™ÙȘ ·Ú¯¤˜ ÙÔ˘ 1954, ÚÔÎÂÈ̤ÓÔ˘ Ó· Û˘ÁÎÂÓÙÚˆıÔ‡Ó ÔÈ ‰ËÌfiÛȘ ˘ËÚÂۛ˜ Û ¤Ó· ¯ÒÚÔ, ·ÔÊ·Û›ÛÙËÎÂ Ë Î·ı’ ‡„Ô˜ ¤ÎÙ·ÛË ÙÔ˘ ¢ÈÔÈÎËÙËÚ›Ô˘ ηٿ ¤Ó·Ó fiÚÔÊÔ. ΔÔ ¤ÚÁÔ ÔÏÔÎÏËÚÒıËΠ۠‰È¿ÛÙËÌ· ÌfiÓÔ ÔÎÙÒ ÌËÓÒÓ. «[ΔÔ ¤ÚÁÔ Ô˘ ¿Ú¯ÈÛÂ] ÚÔ ÔÎÙ·Ì‹ÓÔ˘», ÛËÌÂÈÒÓÂÈ ‰ËÌÔÛÈÔÁÚ·ÊÈ΋ ·ÓÙ·fiÎÚÈÛË ÙÔ ºÂ‚ÚÔ˘¿ÚÈÔ ÙÔ˘ 1955, «ÂÂÚ·ÙÒıË ÙËÓ Ï‹Í·Û· ‚‰ÔÌ¿‰·. ÀÔÏ›ÂÙ·È Ó· ÚÔÛÙÂıÔ‡Ó ÂÏ·Èԯڈ̷ÙÈÛÌÔ› ÙÈÓ¤˜ Î·È ¿ÏÏ·È ÏÂÙÔ̤ÚÂÈ·È Î·› ÂÛˆÙÂÚÈη› ηٷÛ΢·›. √ ÚÔÛÙÂı›˜ ¤ÌÙÔ˜ fiÚÔÊÔ˜ ʤÚÂÈ Â› ÙÔ˘ ·ÂÙÒÌ·Ùfi˜ ÙÔ˘ ÙÔ ‚·ÛÈÏÈÎfiÓ ÛÙ¤ÌÌ·. ∂Ș ÙÔÓ ‰Â‡ÙÂÚÔÓ fiÚÔÊÔÓ Ì ÙÔ˘˜ ÂÍÒÛÙ·˜ ı· Â›Ó·È Ù· ˘Ô˘ÚÁÈο ÁÚ·Ê›· Î·È ·È ·›ıÔ˘Û·È ‰ÂÍÈÒÛÂˆÓ Î·È ‰È·ÛΤ„ˆÓ, ÔÏ˘ÙÂϤÛÙÂÚ· ÂÍ fiψÓ. ¶ÂÓÙ·ÒÚÔÊÔÓ, fiˆ˜ η٤ÛÙË Ì ÙËÓ ÚÔÛı‹ÎËÓ ÂÓfi˜ ·ÎfiÌË ÔÚfiÊÔ˘, ¤¯ÂÈ ·Ó·Î·ÈÓÈÛı‹ ÚÈ˙ÈÎÒ˜ ÂȘ ÙÔ ÂÛˆÙÂÚÈÎfiÓ ÙÔ˘ Î·È ‹ÏÏ·Í·Ó fi„ÈÓ Ù· ·Ï·È¿ ·Ó·ÙÔÏ›ÙÈη ‰È·ÌÂÚ›ÛÌ·Ù¿ ÙÔ˘. Œ¯ÂÈ Û˘ÓÔÏÈÎÒ˜ 177 ‰ˆÌ¿ÙÈ·. √ ÚÔÛÙÂı›˜ ¤ÌÙÔ˜ fiÚÔÊÔ˜ ÂÚÈÏ·Ì‚¿ÓÂÈ 48 ‰ˆÌ¿ÙÈ·».
"Diikitirio" (i.e. Residency) after its expansion in height (1955-1960)
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".
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∞Ï¢ÚfiÌ˘ÏÔ˜ ∞ÏÏ·Ù›ÓË, £ÂÛÛ·ÏÔÓ›ÎË 1914
Flourmill Allatini, Thessaloniki 1914
√ ÌÂÁ·Ï‡ÙÂÚÔ˜ ·Ï¢ÚfiÌ˘ÏÔ˜ Ù˘ ∞Ó·ÙÔÏ‹˜!
∏ ÂȯÂÈÚËÌ·ÙÈÎfiÙËÙ· Ù˘ £ÂÛÛ·ÏÔӛ΢ ηٿ ÙÔÓ 19Ô ·ÈÒÓ· Û˘Ó‰¤ıËΠ̠ÙËÓ ÔÈÎÔÁ¤ÓÂÈ· ∞ÏÏ·Ù›ÓË, Ë ÔÔ›· ‰È¤Ú„ Û fiÏÔ˘˜ ÙÔ˘˜ ÔÈÎÔÓÔÌÈÎÔ‡˜ ÎÏ¿‰Ô˘˜, ·ÏÏ¿ Î·È ÛÙËÓ ÎÔÈÓˆÓÈ΋ ˙ˆ‹ Ù˘ fiÏ˘. ÿ‰Ú˘Û·Ó ÙÔ ÌÂÁ·Ï‡ÙÂÚÔ ·Ï¢ÚfiÌ˘ÏÔ ÛÙÔ £ÂÛÛ·ÏÔÓ›ÎË ÚÈÓ ·fi Ù· ̤۷ ÙÔ˘ 19Ô˘ ·ÈÒÓ·, ÎÔÓÙ¿ ÛÙÔ ¶Â‰›Ô ÙÔ˘ ÕÚˆ˜. ™ÙË ‰ÂηÂÙ›· ÙÔ˘ 1880 ‰ËÌÈÔ˘ÚÁ‹ıËΠӤԘ ÂÙ·fiÚÔÊÔ˜ ·Ú·ı·Ï¿ÛÛÈÔ˜ ·Ï¢ÚfiÌ˘ÏÔ˜ ÛÙË ÛËÌÂÚÈÓ‹ ı¤ÛË, Ô˘ ÔÓÔÌ·ÙÔ‰fiÙËÛÂ Î·È ÙËÓ ÂÚÈÔ¯‹ (∞ÏÏ·Ù›ÓË). √ ̇ÏÔ˜ ·˘Ùfi˜ οËΠÛÙ· Ù¤ÏË ÙÔ˘ 19Ô˘ ·ÈÒÓ· Î·È ·ÓÔÈÎÔ‰ÔÌ‹ıËΠÛÙËÓ ›‰È· ı¤ÛË ÙÔ 1900. ¶ËÁ‹ Ù˘ ÚÒÙ˘ ÂÏÏËÓÈ΋˜ ‰ÈÔ›ÎËÛ˘ ÌÂÙ¿ ÙËÓ ·ÂÏ¢ı¤ÚˆÛË ÛËÌÂÈÒÓÂÈ: «∂›Ó·È Ô ÌÂÁ·Ï‡ÙÂÚÔ˜ ·Ï¢ÚfiÌ˘ÏÔ˜ Ù˘ ∞Ó·ÙÔÏ‹˜ ηٿ Ù ÙËÓ ¤ÎÙ·ÛÈÓ Î·È ·ÂÈÚ›·Ó ÙˆÓ Ì˯·ÓËÌ¿ÙˆÓ ·˘ÙÔ‡ ˆ˜ Î·È ÙËÓ ÌÂÁ¿ÏËÓ ·˘ÙÔ‡ ·Ú·ÁˆÁ‹Ó. ∏ fiÏË ·˘ÙÔ‡ ¤ÎÙ·ÛȘ Â›Ó·È 15.000 Ù.Ì. ÂÚ›Ô˘, ÂÎ ÙˆÓ ÔÔ›ˆÓ ÙÔ ÂÓ ‰Â‡ÙÂÚÔÓ ÂÚ›Ô˘ η٤¯Ô˘ÛÈ ÙÔ ÂÚÁÔÛÙ¿ÛÈÔÓ, Ì˯·ÓÔÛÙ¿ÛÈÔÓ Î·È ‚ÔËıËÙÈο Û˘ÓÂÚÁ›·. ∫ÈÓÂ›Ù·È ‰È’ ·ÙÌÔ‡ Î·È ··Û¯ÔÏ› ‰‡Ó·ÌÈÓ 850 ›ˆÓ». ™Ù· 1926 ÔÈ ∞ÏÏ·Ù›ÓË ·ÔÍÂÓÒıËÎ·Ó Ï‹Úˆ˜ ·fi ÙËÓ È‰ÈÔÎÙ‹ÙÚÈ· ∞ÓÒÓ˘ÌÔ μÈÔÌ˯·ÓÈ΋ Î·È ∂ÌÔÚÈ΋ ∂Ù·ÈÚ›·, Ë ÔÔ›· ÂÚÈ‹Ïı Û ÎÂÊ·Ï·ÈÔ‡¯Ô˘˜ ·fi ÙË ¡fiÙÈ· ∂ÏÏ¿‰·. √ ̇ÏÔ˜ ¤¯ÂÈ ¿„ÂÈ Ó· ÏÂÈÙÔ˘ÚÁ› Î·È Ë ÂÚÈÔ¯‹ –Ô˘ ‚Ú›ÛÎÂÙ·È Ï¤ÔÓ Â‰Ò Î·È ÔÏÏ¿ ¯ÚfiÓÈ· ̤۷ Û ·ÛÙÈÎfi ÂÚÈ‚¿ÏÏÔÓ- ÚÔÔÚ›˙ÂÙ·È ÁÈ· ·Ó¿Ï·ÛË.
The biggest flourmill in the East!
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 sevenstorey 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.
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Without Title
√ÈΛ· ∞ÏÏ·Ù›ÓË, Ó˘Ó ¡ÔÌ·Ú¯›· £ÂÛÛ·ÏÔӛ΢, 1925
¶ÂÚ› ÙÔ 1890 Ë ÔÈÎÔÁ¤ÓÂÈ· ∞ÏÏ·Ù›ÓË ÂÁη٤ÏÂÈ„Â ÙËÓ Î·ÙÔÈΛ· Ù˘ ÛÙË ÛËÌÂÚÈÓ‹ Ô‰fi ™˘ÁÁÚÔ‡ Î·È ÂÁηٷÛÙ¿ıËΠÛÙËÓ ÂÍÔ¯È΋ ¤·˘Ï‹ Ù˘, ÎÔÓÙ¿ ÛÙÔÓ ·Ï¢ÚfiÌ˘ÏÔ, fiÔ˘ ÛÙÂÁ¿˙ÂÙ·È Û‹ÌÂÚ· Ë ÓÔÌ·Ú¯›· £ÂÛÛ·ÏÔӛ΢. ΔÔ ·Ú¯ÔÓÙÈÎfi ·˘Ùfi, Ì ÂÌ‚·‰fiÓ 4.060 ÙÂÙÚ·ÁˆÓÈÎÔ‡˜ ‹¯ÂȘ Î·È 31 ‰ˆÌ¿ÙÈ·, ÎfiÛÙÈÛ ̷˙› Ì ÙË ‰È·ÎfiÛÌËÛË 14.000 ¯Ú˘Û¤˜ ϛژ. ™‡Ìʈӷ Ì ÙËÓ ÙÔÈ΋ ·Ú¿‰ÔÛË, ÛÙÔÓ ÙfiÔ ÙÔ˘ ·Ú¯ÈÎÔ‡ ÔÈÎÔ¤‰Ô˘ ˘‹Ú¯Â ÂÎÎÏËÛ›· ‹ ÌÔÓ·ÛÙ‹ÚÈ. √È ∞ÏÏ·Ù›ÓË ·„‹ÊËÛ·Ó ÙËÓ ·Ú¿‰ÔÛË Î·È ¤¯ÙÈÛ·Ó ÂΛ ÙÔ ·Ú¯ÔÓÙÈÎfi ÙÔ˘˜, fiÔ˘ ¤˙ËÛ·Ó ˆ˜ ÙÔ 1908. ΔÔ ÎÙ›ÚÈÔ ¤ÁÈÓ ·ÁÎÔÛÌ›ˆ˜ ÁÓˆÛÙfi, ‰ÈfiÙÈ ÂΛ ‰È¤ÌÂÈÓÂ Ô ¤ÎÙˆÙÔ˜ ÛÔ˘ÏÙ¿ÓÔ˜ ∞ÌÙÔ‡Ï Ã·Ì›Ó٠ηٿ ÙËÓ ÂÎÙfiÈÛ‹ ÙÔ˘ ÛÙË £ÂÛÛ·ÏÔÓ›ÎË, ÌÂÙ¿ ÙÔ Î›ÓËÌ· ÙˆÓ ¡ÂfiÙÔ˘ÚÎˆÓ (19091912). ™ÙÔ ¯ÒÚÔ ·˘Ùfi, Ô˘ ÂÚÈ‹Ïı ÛÙÔ ÂÏÏËÓÈÎfi ‰ËÌfiÛÈÔ, ÂÁηٷÛÙ¿ıËΠηٿ ÙÔ ÚÒÙÔ ¤ÙÔ˜ Ù˘ ÏÂÈÙÔ˘ÚÁ›·˜ ÙÔ˘ ÙÔ ¶·ÓÂÈÛÙ‹ÌÈÔ £ÂÛÛ·ÏÔӛ΢ (1926). ∏ ʈÙÔÁÚ·Ê›· ¤¯ÂÈ ‰ËÌÔÛÈ¢Ù› Û ¤ÓÙ˘· ÙÔ˘ 1926. ∏ Ï‹„Ë Ú¤ÂÈ Ó· Â›Ó·È ÙÔ˘ 1925.
The Allatini residence, currently the Prefecture of Thessaloniki, 1925
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.
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™¯ÔÏ‹ πÓÙ·ÓÙÈÁȤ - ¶·ÓÂÈÛÙ‹ÌÈÔ £ÂÛÛ·ÏÔӛ΢ (ÚÔÔÏÂÌÈ΋ Ï‹„Ë)
°‡Úˆ ÛÙÔ ¤ÙÔ˜ 1890 –ÔˆÛ‰‹ÔÙ ÚÈÓ ·fi ÙÔ 1898, ÔfiÙ ÛËÌÂÈÒÓÂÙ·È Û ¯¿ÚÙË- ÔÈÎÔ‰ÔÌ‹ıËΠÙÔ ÎÙ›ÚÈÔ Ù˘ ÔıˆÌ·ÓÈ΋˜ ̤Û˘ ‰ÈÔÈÎËÙÈ΋˜ Û¯ÔÏ‹˜, Ô˘ ÔÓÔÌ·˙fiÙ·Ó «πÓÙ·ÓÙÈÁȤ». ΔÔ ÎÙ›ÚÈÔ ·˘Ùfi ¯ÚËÛÈÌÔÔÈ‹ıËΠηٿ ÙÔ˘˜ ‚·ÏηÓÈÎÔ‡˜ ÔϤÌÔ˘˜ Î·È Î·Ù¿ ÙÔÓ ÚÒÙÔ ·ÁÎfiÛÌÈÔ fiÏÂÌÔ ˆ˜ ÓÔÛÔÎÔÌ›Ô. ∞Ô‰fiıËΠÛÙÔ ¶·ÓÂÈÛÙ‹ÌÈÔ £ÂÛÛ·ÏÔӛ΢ ÙÔ 1927, ‰ÈfiÙÈ Ë ‚›Ï· ∞ÏÏ·Ù›ÓË ‚ÚÈÛÎfiÙ·Ó, Ì ٷ ̤ÙÚ· Ù˘ ÂÔ¯‹˜, Ì·ÎÚÈ¿ ·fi ÙËÓ fiÏË. ŒÎÙÔÙÂ, ·Ú¿ ÙË ÌÂÙ·ÔÏÂÌÈ΋ ÎÙÈÚȷ΋ ·Ó¿Ù˘ÍË Ù˘ ·ÓÂÈÛÙËÌÈÔ‡ÔÏ˘, ÙÔ ·Ï·Èfi ·˘Ùfi ÎÙ›ÚÈÔ ÂÍ·ÎÔÏÔ˘ı› Ó· ¯ÚËÛÈÌÔÔÈÂ›Ù·È ·fi ÙÔ ¶·ÓÂÈÛÙ‹ÌÈÔ.
Idadye School - University of Thessaloniki (a pre-war shot)
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.
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Without Title
§·ÔÁÚ·ÊÈÎfi ∂ıÓÔÏÔÁÈÎfi ªÔ˘ÛÂ›Ô ª·Î‰ÔÓ›·˜ (Ï‹„Ë ‰ÂηÂÙ›·˜ 1970)
∂ÈÎÔÓ›˙ÂÙ·È Ë ÚÔ˜ ÙË ı¿Ï·ÛÛ· fi„Ë ÙÔ˘ ÎÙÈÚ›Ô˘. ∫Ù›ÛıËΠÙÔ 1906 ˆ˜ ηÙÔÈΛ· ÙÔ˘ ÙÚ·Â˙›ÙË π·ÎÒ‚ ªÔ‰È¿ÓÔ, Ì ۯ¤‰È· ÙÔ˘ ÁÈÔ˘ ÙÔ˘ ∂Ï› ªÔ‰È¿ÓÔ. ΔËÓ ÂÔ¯‹ ÂΛÓË –Î·È Ì¤¯ÚÈ ÙËÓ ¤ÌÏËÛË Ù˘ ı¿Ï·ÛÛ·˜ ÁÈ· ÙË ‰ËÌÈÔ˘ÚÁ›· Ù˘ ψÊfiÚÔ˘ ªÂÁ¿ÏÔ˘ ∞ÏÂÍ¿Ó‰ÚÔ˘- ÙÔ ÔÈÎfiÂ‰Ô ‹Ù·Ó ·Ú·ı·Ï¿ÛÛÈÔ. ™ÙËÓ ÂÚ›Ô‰Ô Ù˘ ¶ÚÔÛˆÚÈÓ‹˜ ∫˘‚¤ÚÓËÛ˘ £ÂÛÛ·ÏÔӛ΢ (ΔÚÈ·Ó‰Ú›·) ÙÔ ÎÙ›ÚÈÔ ¯ÚËÛÈÌÔÔÈ‹ıËΠˆ˜ ¤‰Ú· ÙˆÓ ÙÚÈÒÓ ÌÂÏÒÓ Ù˘. ΔÔÓ πÔ‡ÏÈÔ ÙÔ˘ 1917 ÙÔ ‰ËÌÔÙÈÎfi Û˘Ì‚Ô‡ÏÈÔ ·ÔÊ¿ÛÈÛ ÙË Û‡Ó·„Ë ‰·Ó›Ԣ ÁÈ· ÙËÓ ·ÁÔÚ¿ ÙÔ˘ ÎÙÈÚ›Ô˘, ÛÙÔ ÔÔ›Ô «ÛÊ˘ÚËÏ·Ù‹ıËÎÂ Ë ·ÔηٿÛÙ·ÛȘ Î·È ÛˆÙËÚ›· Ù˘ ∂ÏÏËÓÈ΋˜ ¶·ÙÚ›‰Ô˜» Î·È Î·Ù¤ÛÙË, ¤ÙÛÈ, «ÂıÓÈÎfiÓ ÎÂÈÌ‹ÏÈÔÓ». ∏ ·fiÊ·ÛË ‰ÂÓ ÂÎÙÂϤÛÙËΠÏfiÁˆ ÙˆÓ ÂÚÈÛÙ¿ÛˆÓ. ΔÔ 1921 ¿ÏÏÔ ‰ËÌÔÙÈÎfi Û˘Ì‚Ô‡ÏÈÔ ·ÔÊ¿ÛÈÛ ӷ Û˘Ó¿„ÂÈ ÂÈÎÔÛ·ÂÙ¤˜ ‰¿ÓÂÈÔ ÁÈ· ÙËÓ ·ÁÔÚ¿ Ù˘ ÔÈΛ·˜ ÚÔÎÂÈ̤ÓÔ˘ –ϤÔÓ- Ó· ¯ÚËÛÈ̤„ÂÈ ˆ˜ ·Ó¿ÎÙÔÚÔ ÙÔ˘ ‚·ÛÈϤˆ˜ ∫ˆÓÛÙ·ÓÙ›ÓÔ˘ ∞ã. ΔÔ ÂfiÌÂÓÔ ‰ËÌÔÙÈÎfi Û˘Ì‚Ô‡ÏÈÔ (1922-1923) ·Ó·Î¿ÏÂÛ ÙË ‰ˆÚ¿, ‰Â‰Ô̤ÓÔ˘ fiÙÈ Ô ∫ˆÓÛÙ·ÓÙ›ÓÔ˜ ›¯Â ÂΉȈ¯ı› ·fi ÙËÓ ∂ÏÏ¿‰·. ΔÔ 1936, Û ¤Ó‰ÂÈÍË «·ÊÔÛÈÒÛˆ˜ Ù˘ fiψ˜» ÚÔ˜ ÙÔ «ÚfiÛˆÔ Ù˘ ∞.ª. ÙÔ˘ ‚·ÛÈϤˆ˜», ¿ÏÏÔ ‰ËÌÔÙÈÎfi Û˘Ì‚Ô‡ÏÈÔ ·ÔÊ¿ÛÈÛ ӷ ‰ˆÚ›ÛÂÈ ÙÔ ÎÙ›ÚÈÔ ÛÙÔÓ °ÂÒÚÁÈÔ μã. ΔÔ 1948 ÛÙÂÁ¿ÛÙËΠÛÙÔ ÎÙ›ÚÈÔ ÛÙÚ·ÙȈÙÈ΋ È·ÙÚÈ΋ Û¯ÔÏ‹ Î·È ·ÚÁfiÙÂÚ· ÈÂÚ·ÙÈ΋ Û¯ÔÏ‹. ΔÔ 1970 ÙÔ ÎÙ›ÚÈÔ ·Ú·¯ˆÚ‹ıËΠÛÙÔ ∂ıÓÔÏÔÁÈÎfi §·ÔÁÚ·ÊÈÎfi ªÔ˘Û›Ô, ÙÔ˘ ÔÔ›Ô˘ ·ÔÙÂÏ› ¤ÎÙÔÙ ÙËÓ ¤‰Ú·.
Folklore Ethnologic Museum of Macedonia (shot in 1970s)
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.
k 204
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205 k
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ΔÔ Ì¤Á·ÚÔ Ù˘ Ã∞¡£
The building of YMCA of Thessaloniki
ΔÔ Ì¤Á·ÚÔ Ù˘ Ã∞¡£ (‰ÂηÂÙ›· 1950)
ΔÔ ÎÙ›ÚÈÔ Ù˘ Ã∞¡£ ·ÓÂÁ¤ÚıËΠÙÔ 1925 ÚÔÎÂÈ̤ÓÔ˘ Ó· ÊÈÏÔÍÂÓ‹ÛÂÈ –ÛÙȘ ·ÓÔȯ٤˜ Î·È ÎÏÂÈÛÙ¤˜ ·ıÏËÙÈΤ˜ ÂÁηٷÛÙ¿ÛÂȘ ÙÔ˘- ÙȘ ‰Ú·ÛÙËÚÈfiÙËÙ˜ Ù˘ ÓÂÔÏ·›·˜ Ù˘ fiÏ˘. °È· ÙËÓ ·Ó¤ÁÂÚÛ‹ ÙÔ˘ ÂӉȷʤÚıËΠÚÔÛˆÈο Ô ÌËÙÚÔÔÏ›Ù˘ °ÂÓÓ¿‰ÈÔ˜ ∞ÏÂÍÈ¿‰Ë˜, Ô ÔÔ›Ô˜ ÚˆÙÔÛÙ¿ÙËÛ ÛÙÔ˘˜ Û¯ÂÙÈÎÔ‡˜ ÂÚ¿ÓÔ˘˜.
The building of YMCA of Thessaloniki (1950s)
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.
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207 k
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THE
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INNER FEATURES
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.
√È ·ÂÈÎÔÓ›ÛÂȘ Ù˘ £ÂÛÛ·ÏÔӛ΢, ·fi ÙÔ 1880 ̤¯ÚÈ Û‹ÌÂÚ·, ‰›ÓÔ˘Ó Û˘Ó‹ıˆ˜ ¤ÌÊ·ÛË ÛÙ· ÌÓËÌ›· Ù˘, ÛÙËÓ ÚÔÎ˘Ì·›· Ù˘ ‹ (ÔÈ ÓÂfiÙÂÚ˜) ÛÙÔÓ ¿ÍÔÓ· ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘, ÙÔ˘ ¶·ÓÂÈÛÙËÌ›Ô˘ Î·È Ù˘ ¢ÈÂıÓÔ‡˜ ŒÎıÂÛ˘. À‹ÚÍ·Ó ˆÛÙfiÛÔ Î·È Ï‹„ÂȘ Ù˘ «·ÛÙÈ΋˜ ÂÓ‰Ô¯ÒÚ·˜» Ù˘ fiÏ˘ Ô˘ ÔÊ›ÏÔÓÙ·È Â›Ù ÛÙËÓ ÚÔÛ¿ıÂÈ· ÙÔ˘ ʈÙÔÁÚ¿ÊÔ˘ Ó· ·ÂÈÎÔÓ›ÛÂÈ ÌÈ· ÙÔÈ΋ ȉȷÈÙÂÚfiÙËÙ· ›Ù ÛÙËÓ ·Ó¿ÁÎË ÙÔ˘ Ó· ·Ô‰ÒÛÂÈ ¤Ó·Ó ÓˆÙÂÚÈÛÌfi. ŒÙÛÈ, ÙÔ ˘ÏÈÎfi Ô˘ ·ÔÙÂÏ› ÙËÓ ÂÓfiÙËÙ· ·˘Ù‹, Ï‹„ÂȘ ·fi 1910 ˆ˜ ÙÔ 1960 ÂÚ›Ô˘, Â›Ó·È ·ÓÔÌÔÈÔÁÂÓ¤˜ ˆ˜ ÚÔ˜ ÙË Û‡ÓıÂÛ‹ ÙÔ˘, ·ÏÏ¿ ¯·Ú·ÎÙËÚÈÛÙÈÎfi ÁÈ· ÙÔÓ ÙÚfiÔ Ì ÙÔÓ ÔÔ›Ô ‰È·ÌÔÚÊÒıËÎ·Ó Ù· ÂÓ‰fiÙÂÚ· ÙÔ˘ ·Ï·ÈÔ‡ ·Ú·ı·Ï¿ÛÛÈÔ˘ ÙÌ‹Ì·ÙÔ˜ Ù˘ fiÏ˘.
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1914 ÂÏÏËÓÈÎfi ·˙¿ÚÈ
1914 Greek bazaar
∫·¿ÓÈ, 1914
∏ ¯ÚÔÓÔÏfiÁËÛË Ô˘ ÛËÌÂÈÒÓÂÙ·È ÛÙË ÊˆÙÔÁÚ·Ê›· ÂȂ‚·ÈÒÓÂÙ·È ·fi Ù· ÂÛˆÙÂÚÈο Â˘Ú‹Ì·Ù· Ù˘ ʈÙÔÁÚ·Ê›·˜, ‰ËÏ·‰‹ ÙËÓ ·Ó·ÁÚ·Ê‹ Ù˘ ÂˆÓ˘Ì›·˜ ÙÔ˘ ηٷÛÙ‹Ì·ÙÔ˜ ÛÙËÓ ÂÏÏËÓÈ΋ Î·È ÙËÓ Â‚Ú·˚΋, ÛÂ Û˘Ó‰˘·ÛÌfi Ì ÙË ¯Ú‹ÛË ÊÂÛÈÒÓ, ÛÙÔȯ›· Ô˘ ‰Â›¯ÓÔ˘Ó fiÙÈ Ë Ï‹„Ë ¤ÁÈÓ ÌÂÙ¿ ÙËÓ ·ÂÏ¢ı¤ÚˆÛË, ·ÏÏ¿ Ôχ ÎÔÓÙ¿ Û ·˘Ù‹Ó. ™ÙÔ Î¤ÓÙÚÔ Ù˘ ʈÙÔÁÚ·Ê›·˜ (¿Óˆ ·fi ÙȘ ηÌÈÓ¿‰Â˜) ÂÈÎÔÓ›˙ÂÙ·È ÙÔ ·ÓÒÙÂÚÔ ÙÌ‹Ì· ÌÈÓ·Ú¤. ΔÔ ÛËÌÂ›Ô Ô˘ ÌÂÁÈÛÙÔÔÈÂ›Ù·È Ë Èı·ÓfiÙËÙ· Û˘Ó‡·Ú͢ ÙÂ̤ÓÔ˘˜ Î·È Û·ÚˆıÚÔÔÈ›Ԣ Â›Ó·È Ù· ÔÈÎÔ‰ÔÌÈο ÙÂÙÚ¿ÁˆÓ· 42, 43 Î·È 45, ÓÔÙ›ˆ˜ Ù˘ ·Ï·È¿˜ Ô‰Ô‡ ∞Ï¢ÚÔ¿˙·ÚÔ˘ (√˘Ó ∫··Ó›), Ë ÔÔ›· ·ÓÙÈÛÙÔȯԇÛ ÛÙË ÛËÌÂÚÈÓ‹ Ô‰fi ™ÔψÌÔ‡ Î·È ‹Ù·Ó οıÂÙÔ˜ ÚÔ˜ ÙË μÂÓÈ˙¤ÏÔ˘. ΔÔ Ù¤ÌÂÓÔ˜ ÌÔÚÔ‡Û ӷ ‹Ù·Ó ÙÔ ™Ô˘ÏÂ˚Ì¿Ó ‹ ÙÔ Ã¿Ì˙· ª¤Ë, ·ÌÊfiÙÂÚ· ÛÙËÓ ∂ÁÓ·Ù›·.
Kapani, 1914
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.
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211 k
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1915, ·ÏÈ·Ù˙›‰Èη
1915, antique shops
∫·¿ÓÈ, 1914
Δ· ·ÏˆÌ¤Ó· ÚÔ‡¯·, Ô˘ ·Ú¤Û˘Ú·Ó ÙÔÓ Û˘ÓÙ¿ÎÙË ÙÔ˘ Û¯ÔÏ›Ô˘, ·Ó‹ÎÔ˘Ó ÛÙÔ Û›ÙÈ Ô˘ ‚Ú›ÛÎÂÙ·È ¿Óˆ ·fi ÙÔ Î·Ù¿ÛÙËÌ·. √ Ù‡Ô˜ ·˘Ùfi˜–ÈÛfiÁÂÈÔ Î·Ù¿ÛÙËÌ· Î·È ·ÓÒÁÂÈ· ηÙÔÈΛ·- ‹Ù·Ó ‰È·‰Ô̤ÓÔ˜ ÛÙË £ÂÛÛ·ÏÔÓ›ÎË Ù˘ ÂÔ¯‹˜ Ô˘ Ï‹ÊıËÎÂ Ë ÊˆÙÔÁÚ·Ê›· (12% ÙˆÓ ÎÙÈÛÌ¿ÙˆÓ ÛÙÔ Î¤ÓÙÚÔ Ù˘ fiÏ˘, ÌÂٷ͇ μÂÓÈ˙¤ÏÔ˘ Î·È ∂ÁÓ·Ù›·˜). ΔÔ Î·Ù¿ÛÙËÌ· οو ·fi ÙÔ Û›ÙÈ Î·È ÂΛÓÔ ·¤Ó·ÓÙÈ ·fi ÙÔ ÊˆÙÔÁÚ¿ÊÔ Ê·›ÓÔÓÙ·È Ó· Ô˘Ï¿Ó ͇Ϸ. √ Â͈ÙÂÚÈÎfi˜ ¯ÒÚÔ˜ ‰ÂÓ Â›Ó·È ‰ÚfiÌÔ˜, ·ÏÏ¿ ·˘Ï‹. Δ· ÛÙÔȯ›· ·˘Ù¿, ÛÙÔ Û‡ÓÔÏfi ÙÔ˘˜, «ÂÓÔ¯ÔÔÈÔ‡Ó» ‰‡Ô ÔÈÎÔ‰ÔÌÈο ÙÂÙÚ¿ÁˆÓ· (˘’ ·ÚÈıÌ. 199 Î·È 203), Ô˘ ‰È¤ıÂÙ·Ó «Í˘ÏԈϛ·», ÂÛˆÙÂÚÈΤ˜ ·˘Ï¤˜ Î·È ÙÔÓ ÔÈÎÔ‰ÔÌÈÎfi Ù‡Ô ÈÛfiÁÂÈÔ Î·Ù¿ÛÙËÌ·-·ÓÒÁÂÈ· ηÙÔÈΛ·. Δ· ÙÂÙÚ¿ÁˆÓ· ·˘Ù¿ ‹Ù·Ó ÁÂÈÙÔÓÈο Î·È ‚Ú›ÛÎÔÓÙ·Ó Â› Ù˘ ‚fiÚÂÈ·˜ ÏÂ˘Ú¿˜ Ù˘ ∂ÁÓ·Ù›·˜, ·Ó¿ÌÂÛ· ÛÙÔ ª¤Ë Ã·Ì¿Ì Î·È ÛÙËÓ ¶·Ó·Á›· ÷ÏΤˆÓ, ‰ËÏ·‰‹ Û ÌÈÎÚ‹ ·fiÛÙ·ÛË ·fi ÙÔ ÛËÌÂ›Ô Ô˘ Ï‹ÊıËÎÂ Ë ÚÔËÁÔ‡ÌÂÓË ÊˆÙÔÁÚ·Ê›·. §fiÁˆ Î·È Ù˘ ÔÌÔÈfiÙËÙ·˜ Ù˘ ʈÙÔÁÚ·ÊÈ΋˜ Ì·ÙÈ¿˜, ‡ÏÔÁ· ÌÔÚԇ̠ӷ ˘Ôı¤ÛÔ˘Ì fiÙÈ ÔÈ ‰‡Ô Ï‹„ÂȘ ¤ÁÈÓ·Ó ·fi ÙÔ ›‰ÈÔ ÚfiÛˆÔ, ÙËÓ ›‰È· ̤ڷ, ÛÙËÓ ›‰È· Û˘ÓÔÈΛ· (∫·¿ÓÈ).
Kapani, 1914
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).
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5.8.1917 ˘ÚηÁÈ¿
5.8.1917, the fire
™˘Ì‚ÔÏ‹ ∂ÁÓ·Ù›·˜ Î·È μÂÓÈ˙¤ÏÔ˘, 1917
ΔÔ ÂÈÎÔÓÈ˙fiÌÂÓÔ ·ÚÈÛÙÂÚfi ÙÌ‹Ì· Ù˘ η̤Ó˘ fiÏ˘ ‚Ú›ÛÎÂÙ·È Û ÌÂÁ·Ï‡ÙÂÚÔ ˘„fiÌÂÙÚÔ ·fi ÙÔ ‰ÂÍÈfi. ™˘ÓÂÒ˜, Ô ÊˆÙÔÁÚ¿ÊÔ˜ ›¯Â ÙË ı¿Ï·ÛÛ· ÛÙ· ‰ÂÍÈ¿ ÙÔ˘, ÙËÓ ¿Óˆ fiÏË ÛÙ· ·ÚÈÛÙÂÚ¿ ÙÔ˘ Î·È ‚ÚÈÛÎfiÙ·Ó ÂÚ›Ô˘ ÛÙË Ì¤ÛË Ù˘ fiÏ˘, ÛÙË ÁˆÓ›· Ì ÙËÓ Ô‰fi Ô˘ ·ÓËÊfiÚÈ˙ ÚÔ˜ ÙÔ ˘„ËÏfiÙÂÚÔ ÙÌ‹Ì·. ™ÙÔ Î·Ì¤ÓÔ ÙÚÈÒÚÔÊÔ ÎÙ›ÚÈÔ Û ÚÒÙÔ Ï¿ÓÔ ·Ó·ÁÚ¿ÊÂÙ·È ÙÔ fiÓÔÌ· ÙÔ˘ Ô‰ÔÓÙÈ¿ÙÚÔ˘ μÈÙ¿ÏË. ΔÔ 1915 Ô Ô‰ÔÓÙ›·ÙÚÔ˜ ¶ÂÛ¿¯ μÈÙ¿ÏÈ –Ù˘¯ÈÔ‡¯Ô˜ ·ÌÂÚÈηÓÈÎÔ‡ ·ÓÂÈÛÙËÌ›Ô˘- ›¯Â ÙÔ È·ÙÚÂ›Ô ÙÔ˘ ÛÙËÓ Ô‰fi ∂ÁÓ·Ù›· 165, ‰ËÏ·‰‹ ÎÔÓÙ¿ ÛÙË ‰È·ÛÙ·‡ÚˆÛË Ì ÙËÓ Ô‰fi μÂÓÈ˙¤ÏÔ˘. ¢Â‰Ô̤ÓÔ˘ fiÙÈ ‰ÂÓ ·Ó·Ê¤ÚÂÙ·È ¿ÏÏÔ˜ Ô‰ÔÓÙ›·ÙÚÔ˜ Ì ÙÔ ›‰ÈÔ Â›ıÂÙÔ Î·È fiÙÈ Ë ı¤ÛË ÙÔ˘ È·ÙÚ›Ԣ Ù·ÈÚÈ¿˙ÂÈ Ì ÙËÓ ÂÈÎÔÓÈ˙fiÌÂÓË, ÌÔÚԇ̠ӷ Û˘ÌÂÚ¿ÓÔ˘Ì fiÙÈ Ô ÊˆÙÔÁÚ¿ÊÔ˜ ¤Ï·‚ ı¤ÛË ÛÙË ‰È·ÛÙ·‡ÚˆÛË ∂ÁÓ·Ù›·˜ Î·È μÂÓÈ˙¤ÏÔ˘, Èı·ÓÒ˜ ¿Óˆ ÛÙË ÛÙ¤ÁË ÙÔ˘ ÙÂ̤ÓÔ˘˜ ÿÌ˙· ª¤Ë.
Crossroads of Egnatia and Venizelou streets, 1917
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.
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215 k
95
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√‰fi˜ ΔÛÈÌÈÛ΋
Tsimiski Street
√‰fi˜ ΔÛÈÌÈÛ΋, Á‡Úˆ ÛÙ· 1930
√ ‰ÚfiÌÔ˜ Â›Ó·È ÂÓÙÂÏÒ˜ Ó¤Ô˜. ¢ËÌÈÔ˘ÚÁ‹ıËΠ̠ÙÔ Ó¤Ô Û¯¤‰ÈÔ, Ú·ÎÙÈο ÌÂÙ¿ ÙÔ 1923. ∞ÂÈÎÔÓ›˙ÂÙ·È ÙÔ ÙÌ‹Ì· ·fi Ô‰fi ∞Á›·˜ ™ÔÊ›·˜ ÚÔ˜ ÙËÓ Ô‰fi ∫·ÚfiÏÔ˘ ¡ÙËÏ. ∞ÚÈÛÙÂÚ¿, ›Ûˆ ·fi ÙÔ ÂÚ›ÙÂÚÔ, ÙÔ Î·ÊÂÓÂ›Ô «∞ÛÙfiÚÈ·», fiÔ˘ Û‡¯Ó·˙·Ó ÔÈ ÏÔÁÔÙ¤¯Ó˜ Ù˘ £ÂÛÛ·ÏÔӛ΢. ™ÙÔ ÛΤ·ÛÙÚÔ ÙÔ˘ ηÊÂÓ›Ԣ ¤Ó· ·Ófi ·Ó·ÎÔÈÓÒÓÂÈ fiÙÈ «·fi Ù˘ ÚÔÛ¯ԇ˜ ∫˘Úȷ΋˜ Ù· ‘ª·Î‰ÔÓÈο ¡¤·’ ı· Â›Ó·È Ï‹Úˆ˜ ·Ó·Óˆ̤ӷ». ∏ ÂÊËÌÂÚ›‰· «ª·Î‰ÔÓÈο ¡¤·», Ì ÂΉfiÙË ÙÔ ‰ËÌÔÛÈÔÁÚ¿ÊÔ ¶¤ÙÚÔ §Ô‡‚·ÚË, ÂΉȉfiÙ·Ó ·fi ÙȘ ·Ú¯¤˜ ÙÔ˘ 1924 ̤¯ÚÈ ÙÔ ºÂ‚ÚÔ˘¿ÚÈÔ ÙÔ˘ 1934. ∏ ÂÈÁÚ·Ê‹ «™Δ∞™π™ 15», Ô˘ ‰È·ÎÚ›ÓÂÙ·È ‰ÂÍÈ¿ ·fi ÙÔ ·Ófi, ·Ó·Ê¤ÚÂÙ·È ÛÙÔ ÙÚ·Ì. ∏ ‰È¤Ï¢ÛË ÙÔ˘ ÙÚ·Ì ¯ÚÔÓÔÏÔÁ› ÙË Ï‹„Ë ÌÂÙ¿ ÙÔ 1927. ŒÙÛÈ, Ë ÊˆÙÔÁÚ·Ê›· ÔÚÈÔıÂÙÂ›Ù·È ¯ÚÔÓÈο ÌÂٷ͇ ÙˆÓ ÂÙÒÓ 1927 Î·È 1934. ∏ Û¯ÂÙÈ΋ ÏËÚfiÙËÙ· ÛÙËÓ ÔÈÎÔ‰fiÌËÛË ˘Ô‰ËÏÒÓÂÈ ¯ÚfiÓÔ ÌÂÙ¿ ÙÔ 1930.
Tsimiski Street, about 1930
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.
k 216
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏
T H E
I N N E R
F E A T U R E S
95
T H E S S A L O N I K I
217 k
96
Δ ∞
∂ ¡ ¢ √ Δ ∂ ƒ ∞
√‰fi˜ ∞Á›·˜ ™ÔÊ›·˜
Aghias Sophias Street
√‰fi˜ ∞Á›·˜ ™ÔÊ›·˜, Á‡Úˆ ÛÙ· 1930
∏ Ô‰fi˜ ∞Á›·˜ ™ÔÊ›·˜ ‹Ù·Ó ·Ï·Èfi˜ ‰ÚfiÌÔ˜, ·ÏÏ¿ ‰È·ÓÔ›¯ÙËÎÂ Î·È Â˘ı˘ÁÚ·ÌÌ›ÛÙËΠ̠ÙËÓ ÂÊ·ÚÌÔÁ‹ ÙÔ˘ Ó¤Ô˘ ÔÏÂÔ‰ÔÌÈÎÔ‡ ۯ‰›Ô˘. √ ʈÙÔÁÚ¿ÊÔ˜, ‰ËÏ·‰‹, ·ÂÈÎfiÓÈ˙ ÌÈ· ·ÛÙÈ΋ Ú·ÁÌ·ÙÈÎfiÙËÙ· Ï›ÁˆÓ ÂÙÒÓ. ∞ÂÈÎÔÓ›˙ÂÙ·È ÙÔ ÙÌ‹Ì· ÙÔ˘ ‰ÚfiÌÔ˘ ·fi ÙË ‰È·ÛÙ·‡ÚˆÛË Ì ÙËÓ Ô‰fi ΔÛÈÌÈÛ΋ ÚÔ˜ ÙËÓ Ï·Ù›· ∞Á›·˜ ™ÔÊ›·˜. ™Ù· ·ÚÈÛÙÂÚ¿, ÙÔ ÎÙ›ÚÈÔ «·ÈÁ˘ÙÈ·ÎÔ‡» Ú˘ıÌÔ‡ Â›Ó·È Ô ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˜ «¢ÈÔÓ‡ÛÈ·», ¿Óˆ ·fi ÙÔÓ ÔÔ›Ô ÛÙÂÁ·˙fiÙ·Ó Ë ŒÓˆÛË ™˘ÓÙ·ÎÙÒÓ. Δ· «¢ÈÔÓ‡ÛÈ·» ÂÁηÈÓÈ¿ÛÙËÎ·Ó ÙÔ ¡Ô¤Ì‚ÚÈÔ ÙÔ˘ 1926. ∏ Ï‹„Ë Ú¤ÂÈ Ó· ¤ÁÈÓ Á‡Úˆ ÛÙ· 1930.
Aghias Sophias Street, about 1930
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.
k 218
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏
T H E
I N N E R
F E A T U R E S
96
T H E S S A L O N I K I
219 k
97
Δ ∞
∂ ¡ ¢ √ Δ ∂ ƒ ∞
√‰fi˜ ∞Á›·˜ ™ÔÊ›·˜
Aghias Sophias Street
√‰fi˜ ∞Á›·˜ ™ÔÊ›·˜, 1913-1917
∏ Ï‹„Ë ¤ÁÈÓ ÌÂÙ¿ ÙËÓ ·ÂÏ¢ı¤ÚˆÛË, ·ÏÏ¿ ÚÈÓ ·fi ÙËÓ ˘ÚηÁÈ¿ ÙÔ˘ 1917, Ë ÔÔ›· ¤Î·„ ٷ Á‡Úˆ ÎÙ›ÚÈ· Ô˘ ÂÈÎÔÓ›˙ÔÓÙ·È ÛÙË ÊˆÙÔÁÚ·Ê›· ·˘Ù‹. √ ʈÙÔÁÚ¿ÊÔ˜ ›¯Â ÛÙ· ‰ÂÍÈ¿ ÙÔ˘ ÙÔ ÎÙ›ÚÈÔ ÛÙÔ ÔÔ›Ô ÛÙÂÁ¿ÛÙËΠÙÔ ÂÏÏËÓÈÎfi ÚÔÍÂÓÂ›Ô Ù˘ £ÂÛÛ·ÏÔӛ΢ (‰È·ÎÚ›ÓÂÙ·È ÛÙ· ‰ÂÍÈ¿: ¡˘Ó ªÔ˘ÛÂ›Ô ª·Î‰ÔÓÈÎÔ‡ ∞ÁÒÓ·). ™ÙÔ ÎÙ›ÚÈÔ ·˘Ùfi ÛÙÂÁ¿ÛÙËΠÙÔ 1915 Ë °ÂˆÚÁÈ΋ ΔÚ¿Â˙· ª·Î‰ÔÓ›·˜ Î·È ÙÔ 1917 Û˘ÛÙÂÁ¿ÛÙËΠÁÈ· ÌÂÚÈÎÔ‡˜ Ì‹Ó˜ Ë ∂ıÓÈ΋ ΔÚ¿Â˙· Ù˘ ∂ÏÏ¿‰Ô˜, fiÙ·Ó Î¿ËÎ·Ó ÔÈ ÂÁηٷÛÙ¿ÛÂȘ Ù˘ ÛÙËÓ Ô‰fi ∞Á›Ô˘ ªËÓ¿. ¢›Ï· ÛÙÔ ÎÙ›ÚÈÔ Â›Ó·È ÙÔ ÚÔ·‡ÏÈÔ ÙÔ˘ ÌËÙÚÔÔÏÈÙÈÎÔ‡ Ó·Ô‡ ÙÔ˘ ∞Á›Ô˘ °ÚËÁÔÚ›Ô˘ ¶·Ï·Ì¿. ∞¤Ó·ÓÙÈ ‚Ú›ÛÎÂÙ·È ·Î¿Ï˘ÙÔ ÂÚÈÊÚ·Á̤ÓÔ ÔÈÎfi‰Ô, Ô˘ ÙËÓ ÂÔ¯‹ Ù˘ Ï‹„˘ ÏÂÈÙÔ˘ÚÁÔ‡Û ˆ˜ Ì·ÚÌ·ÚÔÁÏ˘Ê›Ô. (ª¤¯ÚÈ ÙÔ 1890 ÛÙÔÓ ÙfiÔ ÂΛÓÔ ‚ÚÈÛÎfiÙ·Ó ÙÔ ÌËÙÚÔÔÏÈÙÈÎfi ̤Á·ÚÔ Ù˘ £ÂÛÛ·ÏÔӛ΢). ΔÔ ÔÈÎfiÂ‰Ô ¯Ù›ÛÙËΠÌfiÏȘ ÙÔ 1938, fiÙ·Ó Î·Ù·Û΢¿ÛÙËΠÙÔ ÎÙ›ÚÈÔ Ù˘ ÌËÙÚfiÔÏ˘, Ô˘ ÊÈÏÔͤÓËÛ › ¯ÚfiÓÈ· ÙË ™¯ÔÏ‹ μ·Ï·ÁÈ¿ÓÓË Î·È ÛÙË Û˘Ó¤¯ÂÈ· ÙËÓ ∞ÓÒÙ·ÙË μÈÔÌ˯·ÓÈ΋ ™¯ÔÏ‹.
Aghias Sophias Street, 1913-1917
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 coaccommodated 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.
k 220
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏
T H E
I N N E R
F E A T U R E S
97
T H E S S A L O N I K I
221 k
98
Δ ∞
∂ ¡ ¢ √ Δ ∂ ƒ ∞
¶Ï·Ù›· ∞Á›·˜ ™ÔÊ›·˜
Aghias Sophias Square
¶Ï·Ù›· ∞Á›·˜ ™ÔÊ›·˜, Á‡Úˆ ÛÙ· 1930
∏ Ï·Ù›· ∞Á›·˜ ™ÔÊ›·˜ ‹Ù·Ó ¤Ó· ·fi Ù· ÂӉȷʤÚÔÓÙ· ÛËÌ›· Ù˘ Ó¤·˜ ÔÏÂÔ‰ÔÌÈ΋˜ Ú·ÁÌ·ÙÈÎfiÙËÙ·˜ Ù˘ ÌÂÛÔÔÏÂÌÈ΋˜ £ÂÛÛ·ÏÔӛ΢. ∏ ·Ó¿‰ÂÈÍË Ù˘ ∞Á›·˜ ™ÔÊ›·˜ Î·È Ë ¿ÌÂÛË ÔÙÈ΋ ·ʋ Ì ÙËÓ ÕÓˆ ¶fiÏË ÚÔοÏÂÛ·Ó ÙÔ ÂӉȷʤÚÔÓ ÙˆÓ ÊˆÙÔÁÚ¿ÊˆÓ ÙÔ˘ ÌÂÛÔÔϤÌÔ˘, Ô˘ ÂÓ¤Ù·Í·Ó ÙËÓ Ï·Ù›· ÛÙË ıÂÌ·ÙÈ΋ ÙˆÓ Î·ÚÙÔÛÙ¿Ï Ô˘ Âͤ‰ˆÛ·Ó. ∏ Û˘ÁÎÂÎÚÈ̤ÓË ÊˆÙÔÁÚ·Ê›· ÂΉfiıËΠˆ˜ ηÚÙÔÛÙ¿Ï Ù˘ «¢¤ÏÙ·», ÛÙȘ ·Ú¯¤˜ Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 1930. ∏ Ï‹„Ë Ú¤ÂÈ Ó· ¤¯ÂÈ Á›ÓÂÈ ·fi fiÚÔÊÔ ÎÙÈÚ›Ô˘. ™ÎÔfi˜ ÙÔ˘ ʈÙÔÁÚ¿ÊÔ˘ ‰ÂÓ ‹Ù·Ó Ó· Û˘ÏÏ¿‚ÂÈ ÙËÓ Ï·Ù›· (Û’ ·˘Ù‹Ó ÙËÓ ÂÚ›ÙˆÛË ı· ¤‰ÈÓ ÙËÓ ¤ÌÊ·ÛË ÛÙËÓ ·ÚÈÛÙÂÚ‹ ÏÂ˘Ú¿, ÚÔ˜ ÙËÓ Ô‰fi ∂ÚÌÔ‡), Ô‡Ù ÙËÓ ÂÎÎÏËÛ›· Ù˘ ∞Á›·˜ ™ÔÊ›·˜ (Ô˘ ‚Ú›ÛÎÂÙ·È ÚÔ˜ Ù· ‰ÂÍÈ¿), ·ÏÏ¿ ÙÔ ¿Óˆ ̤ÚÔ˜ Ù˘ Ô‰Ô‡ ∞Á›·˜ ™ÔÊ›·˜ Î·È ÙË ı¤· Ù˘ ÕÓˆ ¶fiÏ˘. ¶¿Óˆ ·fi ÙËÓ ∂ÁÓ·Ù›· Ê·›ÓÂÙ·È Ë Ï·Ù›· ª·Î‰ÔÓÔÌ¿¯ˆÓ. ΔÔ Ô›ÎËÌ· Ô˘ ‰ÂÛfi˙ÂÈ ·ÌÊÈı·ÙÚÈο Û’ ·˘Ù‹Ó Ú¤ÂÈ Ó· ‹Ù·Ó Ë ÔÈΛ· ª·ÏÙ·‰ÒÚÔ˘. ™Ù· ‰ÂÍÈ¿, ÙÔ Ï¢Îfi Ô›ÎËÌ· ÛÙË ÁˆÓ›· Ì ÙËÓ ∂ÁÓ·Ù›· ‹Ù·Ó Ë ÎÏÈÓÈ΋ ªÈÛÈÚÏfiÁÏÔ˘.
Aghias Sophias Square, about 1930
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.
k 222
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏
T H E
I N N E R
F E A T U R E S
98
T H E S S A L O N I K I
223 k
99
Δ ∞
∂ ¡ ¢ √ Δ ∂ ƒ ∞
¶Ï·Ù›· ∞Á›·˜ ™ÔÊ›·˜
Aghias Sophias Square
¶Ï·Ù›· ∞Á›·˜ ™ÔÊ›·˜, ‰ÂηÂÙ›· 1950
∞ÂÈÎÔÓ›˙ÂÙ·È Ë ·Ó·ÙÔÏÈ΋ ÏÂ˘Ú¿ Ù˘ Ô‰Ô‡ ∞Á›·˜ ™ÔÊ›·˜, ÙÔ ·Ó·ÙÔÏÈÎfi ÙÌ‹Ì· Ù˘ Ï·Ù›·˜ Î·È Ë Ô‰fi˜ ∫ÂÚ·ÌÔÔ‡ÏÔ˘ (‚ÔÚ›ˆ˜ ÙÔ˘ Ó·Ô‡ Ù˘ ∞Á›·˜ ™ÔÊ›·˜). ∏ Ï‹„Ë ¤ÁÈÓ ÛÙË ‰ÂηÂÙ›· ÙÔ˘ 1950. ∏ Û‡ÁÎÚÈÛË Ì ÙËÓ ÚÔËÁÔ‡ÌÂÓË ÊˆÙÔÁÚ·Ê›· ‰Â›¯ÓÂÈ fiÙÈ ¤¯Ô˘Ó ·ÓÂÁÂÚı› Ó¤· ÎÙ›ÛÌ·Ù·, ¤Ó· (ÛÙË ÁˆÓ›·) ¤¯ÂÈ ÂÂÎÙ·ı› ηı’ ‡„Ô˜ Î·È ¤Ó· ·ÎfiÌË ÙÂÏ› ˘fi ¤ÎÙ·ÛË (Ë ÎÏÈÓÈ΋ ÛÙËÓ Ô‰fi ∫ÂÚ·ÌÔÔ‡ÏÔ˘). √ ʈÙÔÁÚ¿ÊÔ˜ ·Ó·˙‹ÙËÛ ÙËÓ ·ÙÌfiÛÊ·ÈÚ· Ù˘ Ï·Ù›·˜ –ÚˆÈÓfi ÌÈ·˜ ·ÚÁ›·˜, ÚÔÊ·ÓÒ˜ ÂıÓÈ΋˜ ÂÔÚÙ‹˜- Î·È fi¯È ÙËÓ Ú˘ÌÔÙÔÌÈ΋ ȉȷÈÙÂÚfiÙËÙ¿ Ù˘. ∏ Ï·Ù›· ‰ÂÓ ‹Ù·Ó ϤÔÓ Î·ÈÓÔ‡ÚÁÈ·.
Aghias Sophias Square, 1950s
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.
k 224
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏
T H E
I N N E R
F E A T U R E S
99
T H E S S A L O N I K I
225 k
100
Δ ∞
∂ ¡ ¢ √ Δ ∂ ƒ ∞
√‰fi˜ ∂ÚÌÔ‡
Ermou Street
√‰fi˜ ∂ÚÌÔ‡, Á‡Úˆ ÛÙ· 1930
∏ Ô‰fi˜ ∂ÚÌÔ‡ ˘‹ÚÍÂ Î·È ÂΛÓË ÚÔ˚fiÓ ÙÔ˘ Ó¤Ô˘ ÔÏÂÔ‰ÔÌÈÎÔ‡ ۯ‰›Ô˘. ™˘Ó¤‰ÂÛÂ, Û ¢ı›· ÁÚ·ÌÌ‹, ÙËÓ ·ÁÔÚ¿ Ì ÙÔÓ Ó·fi Ù˘ ∞Á›·˜ ™ÔÊ›·˜, ÙÔÓ ÔÔ›Ô ·Ó·‰Â›ÎÓ˘Â. ∏ ÚÔÔÙÈ΋ Ù˘ ∞Á›·˜ ™ÔÊ›·˜ ÛÙÔ ‚¿ıÔ˜ ÙÔ˘ ‰ÚfiÌÔ˘ Î·È ÙÔ ÌÂÁ¿ÏÔ –Ì ٷ ‰Â‰Ô̤ӷ Î·È ÙȘ ·Ó¿ÁΘ Ù˘ ÂÔ¯‹˜- ‡ÚÔ˜ ÙÔ˘, η٤ÛÙËÛ·Ó ÙËÓ Ô‰fi ∂ÚÌÔ‡ ›˙ËÏÔ ·ÓÙÈΛÌÂÓÔ ÊˆÙÔÁÚ¿ÊËÛ˘ ÛÙÔ ÌÂÛÔfiÏÂÌÔ. ∏ ÌÂϤÙË ÙˆÓ Ù·¯˘‰ÚÔÌËÌ¤ÓˆÓ (Î·È ¿Ú· ¯ÚÔÓÔÏÔÁË̤ӈÓ) ηÚÙÔÛÙ¿Ï Ì·˜ ÂÈÙÚ¤ÂÈ Ó· ÁÓˆÚ›˙Ô˘Ì Ҙ ÂÍÂÏ›¯ÙËÎÂ Ë ‰È·ÌfiÚʈÛË ÙÔ˘ ‰ÚfiÌÔ˘. ∏ Û˘ÁÎÂÎÚÈ̤ÓË Ï‹„Ë ·ÂÈÎÔÓ›˙ÂÈ ÙÔ ‰ÚfiÌÔ ·fi ÙÔ ‡„Ô˜ Ù˘ Ô‰Ô‡ ∫ÔÌÓËÓÒÓ Ì¤¯ÚÈ ÙËÓ ∞Á›· ™ÔÊ›· Î·È ÙËÓ Î·Ù¿ÛÙ·ÛË fiˆ˜ ›¯Â ‹‰Ë ‰È·ÌÔÚʈı› ÙÔ 1928. ™Ù· ‰ÂÍÈ¿ ‰È·ÎÚ›ÓÔÓÙ·È Ë ·ÁÔÚ¿ ªÔ‰È¿ÓÔ Î·È Ë ¡¤· ∞ÁÔÚ¿. ∏ ·ÛÊ·ÏÙfiÛÙÚˆÛË Ù˘ Ô‰Ô‡ ∂ÚÌÔ‡ ¤ÁÈÓ ÙÔ 1933. ™ÙË ÊˆÙÔÁÚ·Ê›· Ô ‰ÚfiÌÔ˜ ‰ÂÓ Ê·›ÓÂÙ·È ·ÛÊ·ÏÙÔÛÙڈ̤ÓÔ˜. ™˘ÓÂÒ˜ Ë Ï‹„Ë ¤ÁÈÓ ÛÙËÓ ÂÚ›Ô‰Ô 1928-1933.
Ermou Street, about 1930
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.
k 226
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏
T H E
I N N E R
F E A T U R E S
100
T H E S S A L O N I K I
227 k
101
Δ ∞
∂ ¡ ¢ √ Δ ∂ ƒ ∞
∂ÚÌÔ‡ Î·È μÂÓÈ˙¤ÏÔ˘
Ermou and Venizelou streets
™˘Ì‚ÔÏ‹ ÙˆÓ Ô‰ÒÓ ∂ÚÌÔ‡ Î·È μÂÓÈ˙¤ÏÔ˘, Á‡Úˆ ÛÙ· 1930
∏ Ô‰fi˜ μÂÓÈ˙¤ÏÔ˘ ‹Ù·Ó ·Ï·Èfi˜ Î·È ÂÌÔÚÈÎfi˜ ‰ÚfiÌÔ˜ Ù˘ £ÂÛÛ·ÏÔӛ΢, ·ÏÏ¿ Ì ÙÔ Ó¤Ô Û¯¤‰ÈÔ ‰È·Ï·Ù‡ÓıËÎÂ Î·È Â˘ı˘ÁÚ·ÌÌ›ÛÙËÎÂ. ¢ÂÓ ‰È·ÛÙ·˘ÚˆÓfiÙ·Ó Ï¤ÔÓ Ì ÛÙÂÓÔ‡˜ ‰ÚÔÌ›ÛÎÔ˘˜, ·ÏÏ¿ Ì Ӥ˜ ¢Ú›˜ Ô‰Ô‡˜, ÁÂÁÔÓfi˜ Ô˘ ¤‰ˆÛ ÛÙÔ ‰ÚfiÌÔ ÂÓÙÂÏÒ˜ Ó¤· fi„Ë. ∫·Ù¿ ÙËÓ ÂÎÔ›ËÛË ÙˆÓ ÔÈÎÔ¤‰ˆÓ ÙÔ˘ Ó¤Ô˘ ۯ‰›Ô˘ ·Ô‰Â›¯ÙËÎÂ Ô ·ÎÚÈ‚fiÙÂÚÔ˜, Ì ÌÂÁ¿ÏË ‰È·ÊÔÚ¿ ·fi ÙÔ˘˜ ÁÂÈÙÔÓÈÎÔ‡˜. Δ· ÎÙ›ÚÈ· Ô˘ ÂÈÎÔÓ›˙ÔÓÙ·È ‹Ù·Ó fiÏ· ÂÌÔÚÈο Î·È ‰ËÌÈÔ˘ÚÁ‹ıËÎ·Ó ÂÍ ·Ú¯‹˜ ÁÈ· ÂÌÔÚÈ΋ ¯Ú‹ÛË Î·È ÂÎÌÂÙ¿ÏÏ¢ÛË. ΔÔ ÎÙ›ÚÈÔ Ô˘ ‰ÂÛfi˙ÂÈ ÛÙË ÊˆÙÔÁÚ·Ê›· ÔÓÔÌ·˙fiÙ·Ó «Ì¤Á·ÚÔ ™›ÁÁÂÚ», ‰ÈfiÙÈ Û ·˘Ùfi ‹Ù·Ó ÂÁηÙÂÛÙË̤ÓË (̤¯ÚÈ Ù· 1930 ÂÚ›Ô˘) Ë ÂÙ·ÈÚ›· Burne Company, Ë ÔÔ›· ÂÌÔÚ¢fiÙ·Ó ÙȘ Ú·ÙÔÌ˯·Ó¤˜ ™›ÁÁÂÚ. ™ÙËÓ ·ÔÁÚ·Ê‹ Ô˘ Ú·ÁÌ·ÙÔÔ›ËÛ ÙÔ ∂ÌÔÚÈÎfi Î·È μÈÔÌ˯·ÓÈÎfi ∂ÈÌÂÏËÙ‹ÚÈÔ £ÂÛÛ·ÏÔӛ΢ ÙÔ 1924 Û˘Ó·ÓÙԇ̠‰¤Î· ÂÚ›Ô˘ ÂÌÔÚÈΤ˜ ÂȯÂÈÚ‹ÛÂȘ Ô˘ ÛÙÂÁ¿˙ÔÓÙ·Ó ÛÙÔ ›‰ÈÔ ÎÙ›ÚÈÔ (‰È‡ı˘ÓÛË: μÂÓÈ˙¤ÏÔ˘ 44 ›Ù ̤Á·ÚÔ ™›ÁÁÂÚ), ÔÈ ÂÚÈÛÛfiÙÂÚ˜ ÙˆÓ ÔÔ›ˆÓ ÂÌÔÚ‡ÔÓÙ·Ó ˘Ê¿ÛÌ·Ù·. ∞Ó¿ÏÔÁ˜ ‹Ù·Ó Î·È ÔÈ ¯Ú‹ÛÂȘ ÙˆÓ ‰ÈÏ·ÓÒÓ ÎÙÈÚ›ˆÓ.
Crossroads of Ermou and Venizelou streets, about 1930
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.
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∫ÂÓÙÚÈ΋ ψÊfiÚÔ˜ Ù˘ ̷ΉÔÓÈ΋˜ ÚˆÙ¢ԇÛ˘ ¿ÁÔ˘Û· ÚÔ˜ ÙËÓ Ï·Ù›· ∞ÚÈÛÙÔÙ¤ÏÔ˘˜, 24.11.1962
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Central road of the Macedonian capital leading to Aristotelous Street, 24.11.1962
√‰fi˜ ∞ÚÈÛÙÔÙ¤ÏÔ˘˜, ‰È·ÛÙ·‡ÚˆÛË Ì ÙËÓ Ô‰fi ΔÛÈÌÈÛ΋ 1962
∫·Ù¿ ÙÔ ÔÏÂÔ‰ÔÌÈÎfi Û¯¤‰ÈÔ Ë Ó¤· Ô‰fi˜ ∞ÚÈÛÙÔÙ¤ÏÔ˘˜ ‹Ù·Ó Ë ÛËÌ·ÓÙÈÎfiÙÂÚË Ù˘ £ÂÛÛ·ÏÔӛ΢. ™˘Ó¤‰Â ‰‡Ô ÌÂÁ¿Ï˜ Ï·Ù›˜: ΔËÓ ¶Ï·Ù›· ¢ÈηÛÙËÚ›ˆÓ (fiÔ˘ Ë Úfi‚ÏÂ„Ë Ó· ·Ó·ÁÂÚıÔ‡Ó Ù· ‰ÈηÛÙ‹ÚÈ· Î·È ÙÔ ‰Ë̷گȷÎfi ̤Á·ÚÔ ‰ÂÓ ÙÂÏÂÛÊfiÚËÛ ‰ÈfiÙÈ ·Ó·Î·Ï‡ÊıËÎÂ Ë ·Ú¯·›· ·ÁÔÚ¿) Î·È ÙËÓ ·Ú·ı·Ï¿ÛÛÈ· ¶Ï·Ù›· ∞ÚÈÛÙÔÙ¤ÏÔ˘˜, Ô˘ ۯ‰ȿÛÙËΠÁÈ· Ó· Á›ÓÂÈ (Î·È ¤ÁÈÓÂ) ΤÓÙÚÔ ·Ó·„˘¯‹˜. ∂› ϤÔÓ, Ì ÙÔÓ ¿ÍÔÓ· Ù˘ Ô‰Ô‡ ∞ÚÈÛÙÔÙ¤ÏÔ˘˜ ı· ·Ó·‰ÂÈÎÓ˘fiÙ·Ó ·fi ÙË ı¿Ï·ÛÛ· Î·È Ô ÕÁÈÔ˜ ¢ËÌ‹ÙÚÈÔ˜. °È· Ù· ÎÙ›ÚÈ· Ù˘ Ô‰Ô‡ ηıÔÚ›ÛÙËÎ·Ó ÂȂ‚ÏË̤Ó˜ fi„ÂȘ (ÔÈ Ôԛ˜ ÙËÚ‹ıËηÓ). ΔÔ 1962, Ô˘ ¤ÁÈÓÂ Ë Ï‹„Ë, ›¯·Ó ·Ú¯›ÛÂÈ ÔÈ ·Ó·Ûηʤ˜ ÛÙËÓ Ï·Ù›· Ù˘ ·Ú¯·›·˜ ·ÁÔÚ¿˜, ·ÏÏ¿ ‰ÂÓ Â›¯·Ó ÚÔ¯ˆÚ‹ÛÂÈ. √ ¯ÒÚÔ˜ ‹Ù·Ó ·ÎfiÌË ÎÂÓfi˜ (ÌÈ· ¯ˆÌ¿ÙÈÓË Î·ÙËÊÔÚÈ΋ ÂÈÊ¿ÓÂÈ·). ∏ ·Ó·ÊÂÚfiÌÂÓË ËÌÂÚÔÌËÓ›· ([™¿‚‚·ÙÔ] 24 ¡ÔÂÌ‚Ú›Ô˘) ‰ÂÓ Â›Ó·È Èı·Ó‹, ·Ó ÎÚ›ÓÔ˘Ì ·fi Ù· ÎÔÓÙÔÌ¿ÓÈη Ô˘Î¿ÌÈÛ· Ô˘ ÊÔÚÔ‡Ó fiÏÔÈ ÔÈ ÂÈÎÔÓÈ˙fiÌÂÓÔÈ. ∂›ÙÂ Ë Ï‹„Ë ¤ÁÈÓ Ì ÂÏÈÎfiÙÂÚÔ Â›Ù ·fi ÛηψÛÈ¿, ¤¯ÂÈ ÚÔηϤÛÂÈ ÙÔ ÂӉȷʤÚÔÓ ÙˆÓ ‰ÈÂÚ¯Ô̤ӈÓ. À¿Ú¯ÂÈ, Ì¿ÏÈÛÙ·, Î·È ÙÔ Ì˘ÛÙ‹ÚÈÔ Ù˘ ·ÓÔȯً˜ fiÚÙ·˜ ÙÔ˘ ÚÒÙÔ˘ ·˘ÙÔÎÈÓ‹ÙÔ˘ ‰ÂÍÈ¿, ·fi ÙÔ ÔÔ›Ô ÏÂ›Ô˘Ó ÔÈ ÂÈ‚¿Ù˜.
Aristotelous Street, a crossroads of Tsimiski Street 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.
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™˘Ì‚ÔÏ‹ ÙˆÓ Ô‰ÒÓ ΔÛÈÌÈÛ΋ Î·È ¶·‡ÏÔ˘ ªÂÏ¿, Á‡Úˆ ÛÙ· 1960
™Â ÚÒÙÔ Ï¿ÓÔ ÙÔ Ì¤Á·ÚÔ μ·Ï·Ô‡ÚË, ·ÎÚÈ‚Ò˜ ÛÙË ‰È·ÛÙ·‡ÚˆÛË ÙˆÓ Ô‰ÒÓ ΔÛÈÌÈÛ΋ Î·È ¶·‡ÏÔ˘ ªÂÏ¿ (¢È·ÁˆÓ›Ô˘). ∞Ó Î·È Ë ÔÓÔÌ·Û›· ¢È·ÁÒÓÈÔ˜ ·ÊÔÚ¿ ÙËÓ Ô‰fi ¶·‡ÏÔ˘ ªÂÏ¿ (‰È·ÁÒÓÈÔ ˆ˜ ÚÔ˜ ÙÔÓ ÔÚıÔÁÒÓÈÔ Î¿Ó·‚Ô ÙÔ˘ Ú˘ÌÔÙÔÌÈÎÔ‡ ۯ‰›Ô˘), ¤¯ÂÈ ÂÈÎÚ·Ù‹ÛÂÈ Ó· ϤÁÂÙ·È ÁÈ· ÙË Û˘ÁÎÂÎÚÈ̤ÓË ‰È·ÛÙ·‡ÚˆÛË. ™ÙÔ ¿ÎÚÔ ‰ÂÍÈ¿ ÙÔ Ì¤Á·ÚÔ ªÔÛÎÒÊ. ∏ Ï‹„Ë ¤ÁÈÓ ÌÂÙ¿ ÙËÓ Î·Ù¿ÚÁËÛË ÙˆÓ ÙÚ·Ì Ô˘ ÂÊ·ÚÌfiÛÙËΠ·fi Ù· Ù¤ÏË ÙÔ˘ 1955 (ÛÙË ÊˆÙÔÁÚ·Ê›· ‰ÂÓ Ê·›ÓÔÓÙ·È Î·Ó ›¯ÓË ÙˆÓ ÙÚÔ¯ÈÔ‰ÚÔÌÈÎÒÓ ÁÚ·ÌÌÒÓ) Î·È ÙËÓ Î·ıȤڈÛË ÙˆÓ ÏˆÊÔÚÂÈ·ÎÒÓ Û˘ÁÎÔÈÓˆÓÈÒÓ. ∞fi ÙÔ 1963 ÛÙÔ Ì¤Á·ÚÔ μ·Ï·Ô‡ÚË ‹Ù·Ó ÂÁηÙÂÛÙË̤ÓË Ë ÓÂÔÏ·›· ÙÔ˘ ÎfiÌÌ·ÙÔ˜ Ù˘ ∂ƒ∂. ∞ÏÏ¿ ÛÙË ÊˆÙÔÁÚ·Ê›· ‰ÂÓ Ê·›ÓÂÙ·È Î·Ó¤Ó· ›¯ÓÔ˜ Ù˘. ŒÙÛÈ, Ë Ï‹„Ë ÚÔÛ‰ÈÔÚ›˙ÂÙ·È ¯ÚÔÓÈο ÛÙËÓ ÂÚ›Ô‰Ô 1956-1962. ΔfiÙ ı˘ÌÔ‡ÓÙ·È Î·È ÔÈ ·Ï·ÈÔ› ÂÚ›ÔÈÎÔÈ fiÙÈ ÏÂÈÙÔ˘ÚÁÔ‡Û ÛÙÔ ÈÛfiÁÂÈÔ ÙÔ˘ ÎÙÈÚ›Ô˘ ÙÔ ÂÈÎÔÓÈ˙fiÌÂÓÔ ·ÓÙÔˆÏÂ›Ô «∫˘„¤ÏË», ¤Ó· ·fi Ù· ÔÏÏ¿ ·ÓÙԈϛ· Ô˘ ›¯Â ÙfiÙÂ Ë Ô‰fi˜ ΔÛÈÌÈÛ΋.
Crossroads of Tsimiski and Pavlou Mela streets, about 1960
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.
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√‰fi˜ ºÈÏÈ΋˜ ∂Ù·ÈÚ›·˜, 1959
∏ Ï‹„Ë ¤ÁÈÓ ·fi ÙÔ §Â˘Îfi ¶‡ÚÁÔ, fi¯È fï˜ ÁÈ· Ó· ··ı·Ó·Ù›ÛÂÈ ÙËÓ ·Ú·Ï›· ‹ Ù· ¤ÚÈÍ ÙÔ˘ ÌÓËÌ›Ԣ, ·ÏÏ¿ ÁÈ· Ó· ‰Â›ÍÂÈ ÙÔ ÂÛˆÙÂÚÈÎfi Ù˘ fiÏ˘. √ ʈÙÔÁÚ¿ÊÔ˜ ¤ÏÂÍ ˆ˜ ÔÙÈÎfi ¿ÍÔÓ· ÙËÓ Ô‰fi ºÈÏÈ΋˜ ∂Ù·ÈÚ›·˜, ¯ˆÚ›˜ ›Ûˆ˜ Ó· ÁÓˆÚ›˙ÂÈ fiÙÈ Î·Ù¿ Ì‹ÎÔ˜ Ù˘ ÂÚÓÔ‡Û ÙÔ ·Ó·ÙÔÏÈÎfi Ù›¯Ô˜ Ù˘ fiÏ˘. ΔÔ ÎÙ›ÚÈÔ Ô˘ ÊÈÏÔͤÓËÛ ÙÔ Î·ÊÂÓÂ›Ô «¡ÙÔÚ¤» (fiÔ˘ Û‡¯Ó·˙·Ó ÔÏÈÙÈÎÔ› Î·È ‰ËÌÔÛÈÔÁÚ¿ÊÔÈ) ‰ÂÓ ¤¯ÂÈ ·ÎfiÌË ÎÙÈÛÙ›. ΔÔ ÔÈÎfi‰fi ÙÔ˘ ·Ó·ÛοÙÂÙ·È. √È ÔÈÎÔÁ¤ÓÂȘ Ù˘ ÁˆÓȷ΋˜ ÔÏ˘Î·ÙÔÈΛ·˜ (Ì ÙÔ ¯·Ú·ÎÙËÚÈÛÙÈÎfi ΢ÎÏÈÎfi Û¯‹Ì·) ÎÚÂÌÔ‡Ó ÙȘ ÌÔ˘Á¿‰Â˜ ÙÔ˘˜ ηٿ Ï¿ÙÔ˜ Ù˘ ºÈÏÈ΋˜ ∂Ù·ÈÚ›·˜. Àfi ·Ó¤ÁÂÚÛË ‚Ú›ÛÎÂÙ·È Î·È ÙÔ ÎÙ›ÚÈÔ Ù˘ §¤Û¯Ë˜ ºÚÔ˘Ú¿˜ £ÂÛÛ·ÏÔӛ΢, Ô˘ ÔÏÔÎÏËÚÒıËΠÙÔ 1959. ¶›Ûˆ ÙÔ˘ ‰È·ÎÚ›ÓÔÓÙ·È Ù· ·Ï·È¿ «ÛÔ˘ÏÙ·ÓÈο» ÎÙ›ÚÈ· Ù˘ Ô‰Ô‡ ∂ıÓÈ΋˜ ∞̇Ó˘. ∏ Ï¢΋ ÔÈÎÔ‰ÔÌ‹, ÛÙÔ ¿ÎÚÔ ‰ÂÍÈ¿ Ù˘ ÂÈÎfiÓ·˜, ‚Ú›ÛÎÂÙ·È ÛÙË Û˘Ì‚ÔÏ‹ ÙˆÓ Ô‰ÒÓ ∂ıÓÈ΋˜ ∞̇Ó˘ Î·È ΔÛÈÌÈÛ΋. ∞ÚÎÂÙ¤˜ ÔÈÎÔ‰Ô̤˜ ·ÓÂÁ›ÚÔÓÙ·È ÛÙÔ ÂÛˆÙÂÚÈÎfi Ù˘ fiÏ˘. ™ÙÔ ‚¿ıÔ˜, ÔÈ Û˘ÓÔÈ˘ Ù˘ ÕÓˆ ¶fiÏ˘, Ë ·ÎÚfiÔÏË Î·È ÔÈ ÂÎÙfi˜ ÙˆÓ ÙÂȯÒÓ Û˘ÓÔÈÎÈÛÌÔ› ÙÔ˘ ∞Á›Ô˘ ¶·‡ÏÔ˘ Î·È ÙˆÓ ™·Ú¿ÓÙ· ∂ÎÎÏËÛÈÒÓ.
Philikis Eterias Street, 1959
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.
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™ÙËÓ ÂÚ›Ô‰Ô 1955-1965 Ú·ÁÌ·ÙÔÔÈ‹ıËÎ·Ó ÛÙË μfiÚÂÈ· ∂ÏÏ¿‰· ÛËÌ·ÓÙÈο ‰ËÌfiÛÈ· ¤ÚÁ· ·ÏÏ¿ Î·È È‰ÈˆÙÈΤ˜ ÂÂÓ‰‡ÛÂȘ, Û ‚·ıÌfi Ô˘, ÁÈ· ÚÒÙË ÊÔÚ¿ ·fi ÙÔ 1912, Ô Ú˘ıÌfi˜ ·‡ÍËÛ˘ ÙÔ˘ ÚÔ˚fiÓÙÔ˜ ÛÙË Û˘ÁÎÂÎÚÈ̤ÓË ÂÚÈÔ¯‹ ͤڷÛ ÔÔÈ·‰‹ÔÙ ¿ÏÏË. Δ· ÛËÌ·ÓÙÈÎfiÙÂÚ· ·fi Ù· ¤ÚÁ· ·˘Ù¿ Ú·ÁÌ·ÙÔÔÈ‹ıËÎ·Ó ÛÙË £ÂÛÛ·ÏÔÓ›ÎË. ∂ÎÙfi˜ ·fi ÙËÓ ·Ó¿Ù˘ÍË Ù˘ ·ÓÂÈÛÙËÌÈÔ‡ÔÏ˘ Î·È Ù˘ ¢ÈÂıÓÔ‡˜ ŒÎıÂÛ˘, ÛÙËÓ ÔÔ›· ¤¯Ô˘Ì ·Ó·ÊÂÚı›, ÛËÌ·ÓÙÈÎfi ¤ÚÁÔ ÁÈ· ÙËÓ fiÏË ‹Ù·Ó Ë Â¤ÎÙ·ÛË Ù˘ ·Ú·Ï›·˜ ÚÔ˜ Ù· ·Ó·ÙÔÏÈο Î·È Ë ‰ËÌÈÔ˘ÚÁ›· Ù˘ ψÊfiÚÔ˘ ªÂÁ¿ÏÔ˘ ∞ÏÂÍ¿Ó‰ÚÔ˘ (ÚÒËÓ ∫¤ÓÂÓÙÈ). ™ÙÔÓ È‰ÈˆÙÈÎfi ÙÔ̤· ͯˆÚ›˙ÂÈ Ë ‰ËÌÈÔ˘ÚÁ›· ÙÔ˘ ‰È˘ÏÈÛÙËÚ›Ô˘ Ù˘ Esso.
∂ƒ°∞
WORKS
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.
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∏ Ó¤· ·Ú·Ï›·, 1962
∏ ¤ÎÙ·ÛË Ù˘ ·Ú·Ï›·˜ ÚÔ˜ Ù· ·Ó·ÙÔÏÈο ‹Ù·Ó ·Ï·È¿ ·fiÊ·ÛË Ô˘ ¿Ú¯ÈÛ ӷ ÂÎÙÂÏÂ›Ù·È Î·Ù¿ Ù· ÙÂÏÂ˘Ù·›· ÚÔÔÏÂÌÈο ¯ÚfiÓÈ·. ªfiÓÔÓ fï˜ ÛÙ· Ù¤ÏË Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 1950 ¿Ú¯ÈÛÂ Ë ÂÊ·ÚÌÔÁ‹ Ù˘. ∞fi ¿ÏϘ Û˘Ó·Ê›˜ Ï‹„ÂȘ ÚÔ·ÙÂÈ fiÙÈ Ë Û˘ÁÎÂÎÚÈ̤ÓË ·fi ·¤ÚÔ˜ ʈÙÔÁÚ·Ê›· ¯ÚÔÓÔÏÔÁÂ›Ù·È ÙÔ 1962, ¯ÚÔÓÔÏÔÁ›· Ô˘ Û˘ÌʈÓ› Î·È Ì ¿ÏϘ Ï‹„ÂȘ ¿Óˆ ·fi ÙË £ÂÛÛ·ÏÔÓ›ÎË. ∏ ¤ÎÙ·ÛË Ù˘ ·Ú·Ï›·˜ Û˘Óԉ‡ÙËÎÂ Î·È Ì ¤ÌÏËÛË Ù˘ ı¿Ï·ÛÛ·˜, Ì ·ÔÙ¤ÏÂÛÌ· Ó· ‰ËÌÈÔ˘ÚÁËıÔ‡Ó Ó¤· ÔÈÎfi‰·. Δ· ÔÈÎfi‰· ·˘Ù¿ Â›Ó·È ÎÂÓ¿ ÛÙË ÊˆÙÔÁÚ·Ê›·, ‰Â›¯ÓÔÓÙ·˜ ¤ÙÛÈ ¤ÌÌÂÛ· ÙË Ê˘ÛÈ΋ ÎfiψÛË. ΔÔ ÚÒÙÔ ÎÙ›ÚÈÔ Ô˘ ͯˆÚ›˙ÂÈ Î·È ÂÊ¿ÙÂÙ·È ÛÙË ÏˆÊfiÚÔ, ·Ó‹Î ÛÙÔ Û˘ÁÎÚfiÙËÌ· Ù˘ Û¯ÔÏ‹˜ Δ˘ÊÏÒÓ, Ë ÔÔ›· ‚ÚÈÛÎfiÙ·Ó ¿Óˆ Û ·ÎÚˆÙ‹ÚÈÔ. ΔÔ ›‰ÈÔ Î·È Ë ÔÌ¿‰· ÔÏ˘Î·ÙÔÈÎÈÒÓ Á‡Úˆ ·fi ÙÔ §·ÔÁÚ·ÊÈÎfi ªÔ˘Û›Ô. ™Â ÂΛÓÔ ÙÔ ‡„Ô˜ ›¯·Ó ÊÙ¿ÛÂÈ ÔÈ ÂÚÁ·Û›Â˜ ÙÔ 1962. √È ˘fiÏÔȘ ·ÎÙ¤˜ Ì·˙ÒıËÎ·Ó ÛÙ·‰È·Î¿ Ù· ÂfiÌÂÓ· ¯ÚfiÓÈ·.
The new waterfront, 1962
The expansion of the waterfront eastwards had been decided years before, yet it started being realized during the late postwar 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.
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ΔÔ ∫·˘Ù·ÓÙ˙fiÁÏÂÈÔÓ ™Ù¿‰ÈÔÓ 31.5.1962
Kaftatzoglio Stadium 31.5.1962
∫·˘Ù·ÓÙ˙fiÁÏÂÈÔ ™Ù¿‰ÈÔ, 1962
∏ ÔÈÎÔÁ¤ÓÂÈ· ∫·ÊÙ·ÓÙ˙fiÁÏÔ˘ ‰È·‰Ú·Ì¿ÙÈÛ ڈÙ‡ÔÓÙ· ÚfiÏÔ ÛÙÔ ¯ÚÈÛÙÈ·ÓÈÎfi ÎfiÛÌÔ Ù˘ £ÂÛÛ·ÏÔӛ΢ ηٿ ÙÔÓ 18Ô Î·È ÙȘ ·Ú¯¤˜ ÙÔ˘ 19Ô˘ ·ÈÒÓ·. ∂ηÙÚ›ÛÙËΠÛÙË ª·ÛÛ·Ï›· ÙÔ 1822, ÚÔÎÂÈ̤ÓÔ˘ Ó· ÁÏÈÙÒÛÂÈ ÙȘ ÛÊ·Á¤˜ Ô˘ ÂÍ·ÔχıËÎ·Ó Î·Ù¿ ÙˆÓ Â˘fiÚˆÓ £ÂÛÛ·ÏÔÓÈΤˆÓ ·fi ÙȘ ÔıˆÌ·ÓÈΤ˜ ·Ú¯¤˜. √È ·fiÁÔÓÔ› Ù˘ ·Ó·‰Â›¯ıËÎ·Ó ÔÈÎÈÏÔÙÚfiˆ˜ ÛÙÔ ‰ËÌfiÛÈÔ ‚›Ô Î·È –ÙÈÌÒÓÙ·˜ ÙËÓ ·ÒÙÂÚË Î·Ù·ÁˆÁ‹ ÙÔ˘˜- ÎÏËÚÔ‰fiÙËÛ·Ó ÛËÌ·ÓÙÈÎfi ÔÛfi ÁÈ· ÙËÓ Î·Ù·Û΢‹ ËÚÒÔ˘ ÛÙË £ÂÛÛ·ÏÔÓ›ÎË. ΔÔ ÔÛfi ·˘Ùfi ¯ÚËÛÈÌÔÔÈ‹ıËΠˆ˜ ‚¿ÛË ÁÈ· ÙËÓ Î·Ù·Û΢‹ ÂıÓÈÎÔ‡ ÛÙ·‰›Ô˘ ÛÙËÓ fiÏË. ∏ ·fi ·¤ÚÔ˜ ʈÙÔÁÚ¿ÊËÛ‹ ÙÔ˘, ÙÔ 1962, ·Ú¤¯ÂÈ ÌÔÓ·‰È΋ ÂÈÎfiÓ· Ù˘ Á‡Úˆ ÂÚÈÔ¯‹˜: ™ÙÔ ¿Óˆ ·ÚÈÛÙÂÚfi ̤ÚÔ˜, ¿Óˆ ·fi ÙÔ Á‹Â‰Ô, ·ÏÒÓÔÓÙ·È ÔÈ ÛÙÚ·ÙȈÙÈΤ˜ ÂÁηٷÛÙ¿ÛÂȘ, Á‡Úˆ ·fi ÙÔ °™¡ 424. ™ÙÔ ¿Óˆ ‰ÂÍÈfi ̤ÚÔ˜, Ë Û˘ÓÔÈΛ· Ù˘ ∞Á›·˜ ºˆÙÂÈÓ‹˜ Î·È ›Ûˆ Ù˘ Ë ¢∂£.
Kaftatzoglio Stadium, 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.
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ΔÔ˘ÚÈÛÙÈ΋ Ï·˙ ∞Á›·˜ ΔÚÈ¿‰Ô˜ 20.5.1969
The tourist beach of Aghia Triada 20.5.1969
ΔÔ˘ÚÈÛÙÈ΋ Ï·˙ ∞Á›·˜ ΔÚÈ¿‰Ô˜
ΔÔ 1960 ‰ËÌÈÔ˘ÚÁ‹ıËÎÂ Ë ÔÚÁ·ÓˆÌ¤ÓË Ï·˙ Ù˘ ·ÎÙ‹˜ £ÂÚÌ·˚ÎÔ‡, Ì ÙËÓ ÂÏ›‰· fiÙÈ ı· ÚÔÛ‹Ï΢ ÙÔ˘Ú›ÛÙ˜ Ô˘ ‰ÂÓ ¤‚ÚÈÛÎ·Ó ÔÚÁ·ÓˆÌ¤ÓÔ ÙfiÔ ÁÈ· ı·Ï¿ÛÛÈ· ÏÔ˘ÙÚ¿ ÎÔÓÙ¿ ÛÙË £ÂÛÛ·ÏÔÓ›ÎË. ø˜ ȉ·ÓÈÎfi˜ ÙfiÔ˜ ÁÈ· ÙËÓ ÂÁηٿÛÙ·Û‹ Ù˘ ÂÈϤ¯ıËΠ¤ÎÙ·ÛË Ô˘ ·Ó‹Î ÛÙÔ ‰ËÌfiÛÈÔ, ÎÔÓÙ¿ ÛÙÔ ÚÔÛÊ˘ÁÈÎfi ¯ˆÚÈfi ·ÏȤˆÓ ∞Á›· ΔÚÈ¿‰·, ÙÔ ÔÔ›Ô ‹‰Ë ·ÔÙÂÏÔ‡Û ı¤ÚÂÙÚÔ ÁÈ· ÙÔ˘˜ £ÂÛÛ·ÏÔÓÈΛ˜.
The tourist beach of Aghia Triada
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.
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£ÂÛÛ·ÏÔÓ›ÎË-¢ÈÒÚ˘Í
Thessaloniki-Canal
∞ډ¢ÙÈ΋ ‰ÈÒÚ˘Á· ÁÈ· ÙËÓ ˘‰ÚÔ‰fiÙËÛË ÙÔ˘ ÂÚÁÔÛÙ·Û›Ô˘ Ù˘ ˙¿¯·Ú˘ ÛÙÔ ¶Ï·Ù‡, 1962
∏ ∂ÏÏËÓÈ΋ μÈÔÌ˯·Ó›· ∑¿¯·Ú˘ ∞.∂. ȉڇıËΠÙÔ 1960, Ì ÛÙfi¯Ô ÙËÓ ·Ú·ÁˆÁ‹ ˙¿¯·Ú˘ ÛÙËÓ ∂ÏÏ¿‰· Î·È ÙËÓ ˘ÔηٿÛÙ·ÛË ÙˆÓ ÂÈÛ·ÁˆÁÒÓ. ΔÔ 1961 ÏÂÈÙÔ‡ÚÁËÛ ÙÔ ÚÒÙÔ ˙·¯·ÚÔ˘ÚÁÂ›Ô ÛÙË §¿ÚÈÛ· Î·È ÙÔ 1962 ÙÔ ‰Â‡ÙÂÚÔ ÛÙÔ ¶Ï·Ù‡. °È· ÙËÓ ˘‰ÚÔ‰fiÙËÛË ÙÔ˘ ÂÚÁÔÛÙ·Û›Ô˘ ·fi ÙÔÓ ∞ÏÈ¿ÎÌÔÓ· ηٷÛ΢¿ÛÙËΠÂȉÈÎfi ·Ú‰Â˘ÙÈÎfi ‰›ÎÙ˘Ô.
An irrigation canal for the water supply of the sugarhouse at Platy, 1962
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.
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∞ÂÚÔÏÈÌ‹Ó £ÂÛÛ·ÏÔӛ΢
The Airport of Thessaloniki
∞ÂÚÔ‰ÚfiÌÈÔ £ÂÛÛ·ÏÔӛ΢, 1965
ΔÔ ÎÙ›ÚÈÔ ÙÔ˘ ·ÂÚÔ‰ÚÔÌ›Ô˘ £ÂÛÛ·ÏÔӛ΢ ηٷÛ΢¿ÛÙËΠÙÔ 1965, ¤ÙÔ˜ ÛÙÔ ÔÔ›Ô ı· Ú¤ÂÈ Ó· ¯ÚÔÓÔÏÔÁËıÔ‡Ó ÔÈ ‰‡Ô ·˘Ù¤˜ Ï‹„ÂȘ. ∞Ó Î·È Î·Ù¿ ÙÔ Û¯Â‰È·ÛÌfi ÙÔ˘ ¤ÚÁÔ˘ Ë ·ÂÚÔÔÚÈ΋ ΛÓËÛË Ù˘ £ÂÛÛ·ÏÔӛ΢ ‹Ù·Ó ÂÚÈÔÚÈṲ̂ÓË, ÔÈ ‰È·ÛÙ¿ÛÂȘ ÙÔ˘ ·Ô‰Â›¯ıËÎ·Ó Û‡ÓÙÔÌ· ÌÈÎÚfiÙÂÚ˜ ·fi ÙȘ ·Ó·Ù˘ÛÛfiÌÂÓ˜ ·Ó¿ÁΘ. ΔÔ 1970 ·ÔÊ·Û›ÛÙËÎÂ Ë Â¤ÎÙ·Û‹ ÙÔ˘.
The Airport of Thessaloniki, 1965
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.
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31.12.1967
31.12.1967
™È‰ËÚÔ‰ÚÔÌÈÎfi˜ ÛÙ·ıÌfi˜ £ÂÛÛ·ÏÔӛ΢, ÂÚ› ÙÔ 1962
Ÿˆ˜ ÚԷӷʤÚıËÎÂ, Ô ÛÙ·ıÌfi˜ ÂÁηÈÓÈ¿ÛÙËΠÙÔ 1962. √ Ù‡Ô˜ ÙˆÓ ·˘ÙÔÎÈÓ‹ÙˆÓ, Ù· ‰È·ÊËÌÈ˙fiÌÂÓ· ÚÔ˚fiÓÙ· Î·È ÔÈ ·ÌÊȤÛÂȘ ‰ËÌÈÔ˘ÚÁÔ‡Ó, ¿ÓÙˆ˜, ÙËÓ ˘Ô„›· fiÙÈ Ë Ï‹„Ë Â›Ó·È Ï›ÁÔ ÚÔÁÂÓ¤ÛÙÂÚË ·fi ÙÔ 1967.
The railway station of Thessaloniki, at about 1962
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.
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∫˘‚ÂÚÓ›ÔÓ 23.12.1967
Kivernio (i.e. Government House) 23.12.1967
ΔÔ ·Ó¿ÎÙÔÚÔ Ù˘ £ÂÛÛ·ÏÔӛ΢
ΔÔ ·Ó¿ÎÙÔÚÔ Ù˘ £ÂÛÛ·ÏÔӛ΢ ¿Ú¯ÈÛ ӷ ηٷÛ΢¿˙ÂÙ·È ÙÔ 1955 Û ÙÔÔıÂÛ›· ÌÂÁ¿Ï˘ Ê˘ÛÈ΋˜ ˆÚ·ÈfiÙËÙ·˜, ÛÙÔ ∫·Ú·ÌÔ˘ÚÓ¿ÎÈ (ªÈÎÚfi ŒÌ‚ÔÏÔ), Î·È ÔÏÔÎÏËÚÒıËΠÙÔ 1960.
The palace of Thessaloniki
The palace of Thessaloniki started being built in 1955 on a site of great natural beauty, at Karabournaki (Small Clot), and finished in 1960.
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ΔÔ ¢È¸ÏÈÛÙ‹ÚÈÔÓ £ÂÛÛ·ÏÔӛ΢ ˘fi ·Ó¤ÁÂÚÛÈÓ. ŸÈÛıÂÓ ·È ÂÁηٷÛÙ¿ÛÂȘ ÏÈ·ÛÌ¿ÙˆÓ Ù˘ ∞.∂. ÃËÌÈη› μÈÔÌ˯·Ó›·È μÔÚ›Ԣ ∂ÏÏ¿‰Ô˜
The Refinery of Thessaloniki under construction. Behind it, there is the fertilizers plant of the Chemical Industries of Northern Greece SA.
Esso Pappas, 1965 ‹ 1966
∏ ۇ̂·ÛË Ù˘ ÂÏÏËÓÈ΋˜ ΢‚¤ÚÓËÛ˘ Ì ÙËÓ ÂÙ·ÈÚ›· Esso (ı˘Á·ÙÚÈ΋ Ù˘ Exon) Î·È ÙÔÓ ÂȯÂÈÚËÌ·Ù›· ΔÔÌ ¶¿·˜ ÁÈ· ÙË ‰ËÌÈÔ˘ÚÁ›· ‰È˘ÏÈÛÙËÚ›Ô˘ ÛÙË £ÂÛÛ·ÏÔÓ›ÎË Î·Ù·ÚÙ›ÛÙËΠÙÔÓ √ÎÙÒ‚ÚÈÔ ÙÔ˘ 1962. ΔÔ Û˘ÁÎÚfiÙËÌ· ıÂÌÂÏÈÒıËΠÛÙȘ 10 ª·˝Ô˘ 1964, ·ÊÔ‡ ÚÔËÁÔ˘Ì¤Óˆ˜ ÔÈ ÂÂÓ‰˘Ù¤˜ ·ÁfiÚ·Û·Ó 6.000 ÛÙÚ¤ÌÌ·Ù· ·ÁÚÔÙÈ΋˜ Á˘ ÛÙ· ¢È·‚·Ù¿ Ù˘ £ÂÛÛ·ÏÔӛ΢. ∏ ÂÙ·ÈÚ›· ÃËÌÈη› μÈÔÌ˯·Ó›·È μÔÚ›Ԣ ∂ÏÏ¿‰Ô˜ Û˘ÛÙ‹ıËΠÙÔ 1962. ΔÔ ÂÚÁÔÛÙ¿ÛÈÔ ‰ËÌÈÔ˘ÚÁ‹ıËΠÛÙÔ ¯ˆÚÈfi ¢È·‚·Ù¿ (‹‰Ë Û˘ÓÔÈÎÈÛÌfi Ù˘ £ÂÛÛ·ÏÔӛ΢) Î·È ¿Ú¯ÈÛ ӷ ÏÂÈÙÔ˘ÚÁ› ÙÔ 1966.
Esso Pappas, 1965 ‹ 1966
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.
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ESSO PAPPAS PETROLEUM REFINERY. This modern petroleum refinery is a basic unit of the Esso Pappas industrial complex in Thessaloniki. With a capacity to process 2.5 million tones of crude per year, it produces regular and premium gasoline, liquefied petroleum-gas (LPG), naphtha, aviation fuels, diesel oil, heating oils and asphalt
ESSO PAPPAS PETROLEUM REFINERY. This modern petroleum refinery is a basic unit of the Esso Pappas industrial complex i n Thessaloniki. With a capacity to process 2.5 million tones of crude per year, it produces regular and premium gasoline, liquefied petroleum-gas (LPG), naphtha, aviation fuels, diesel oil, heating oils and asphalt
ΔÔ Û˘ÁÎÚfiÙËÌ· Ù˘ Esso Pappas, 1966
ΔÔ ‰È˘ÏÈÛÙ‹ÚÈÔ ¿Ú¯ÈÛ ӷ ÏÂÈÙÔ˘ÚÁ› ÙÔ ª¿ÈÔ ÙÔ˘ 1966. ∞̤ۈ˜ ÌÂÙ¿ ÙËÓ ¤Ó·ÚÍË ÏÂÈÙÔ˘ÚÁ›·˜ ÙÔ˘, ÍÂΛÓËÛ ÙÔ ÂÚÁÔÛÙ¿ÛÈÔ ·Ì̈ӛ·˜ Î·È Ô ·ÙÌÔηٷχÙ˘, Ô˘ ¯ÚËÛÈÌÔÔÈÔ‡Û ÙË Ó¿Êı· ·fi ÙÔ ‰È˘ÏÈÛÙ‹ÚÈÔ ÁÈ· ÙËÓ ·Ú·ÁˆÁ‹ ·Èı˘ÏÂÓ›Ô˘, ÚÔ˚fiÓ ·Ó·Áη›Ô ÁÈ· ÙÔ ÂÚÁÔÛÙ¿ÛÈÔ Ù˘ «∂ı‡Ï», ÙÔ ÔÔ›Ô ÂÁηÈÓÈ¿ÛÙËΠÙËÓ ÂfiÌÂÓË ¯ÚÔÓÈ¿ ÛÙË £ÂÛÛ·ÏÔÓ›ÎË.
The plant of Esso Pappas, 1966
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.
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Ã√¡√§√°π∫∏ ∫∞Δ∞Δ∞•∏ ºøΔ√°ƒ∞ºπø¡ CHRONOLOGICAL LISTING OF PHOTOGRAPHS
1890-1917
8, 9, 10, 11, 12, 13, 21, 22, 23, 24, 37, 38, 39, 40, 68, 84, 85, 87, 92, 93, 94, 97.
1918-1939
29, 49, 66, 88, 89, 95, 96, 98, 100, 101.
1940-1949
2, 14, 16, 25, 26, 27, 28, 69, 70, 71, 72, 80.
1950-1959
1, 5, 17, 20, 30, 32, 33, 34, 50, 73, 75, 76, 77, 79, 81, 86, 91, 99, 103, 104.
1960-1969
3, 4, 31, 35, 41, 42, 43, 45, 46, 47, 48, 51, 52, 53, 54, 55, 56, 58, 59, 64, 65, 67, 74, 78, 82, 83, 102, 105, 106, 107, 108, 109, 110, 111, 112, 113, 114.
1970-1980
6, 7, 15, 18, 19, 36, 44, 57, 60, 61, 62, 63, 90.
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μπμ§π√°ƒ∞ºπ∞
BIBLIOGRAPHY
;Mats Lieberg, (ÂÈÌ. ÃÂΛÌÔÁÏÔ˘ ∂.), £ÂÛÛ·ÏÔÓ›ÎË 1944: Δ· ʈÙÔÁÚ·ÊÈο ÓÙÔÎÔ˘Ì¤ÓÙ· ÙÔ˘ Jean Lieberg, £ÂÛÛ·ÏÔÓ›ÎË 1999. ;∞Ó·ÛÙ·ÛÈ¿‰Ë˜ °. & ÃÂΛÌÔÁÏÔ˘ ∂., ¢ËÌ‹ÙÚÈÔ˜ ¢›Áη˜ (1876-1974): √ ÚÒÙÔ˜ ̷ΉfiÓ·˜ ˘Ô˘ÚÁfi˜, £ÂÛÛ·ÏÔÓ›ÎË 2002. ;∞Ó·ÛÙ·ÛÈ¿‰Ë˜ °. & ÃÂΛÌÔÁÏÔ˘ ∂., ∏ "¯·Ì¤ÓË ∂ÁÓ·Ù›·" Ù˘ £ÂÛÛ·ÏÔӛ΢, £ÂÛÛ·ÏÔÓ›ÎË 2002. ;∞Ó·ÛÙ·ÛÈ¿‰Ë˜ °. & ÃÂΛÌÔÁÏÔ˘ ∂., ¶·Ú·Ï›·-§ÈÌ¿ÓÈ·-§Â˘Îfi˜ ¶‡ÚÁÔ˜: ∏ Ì¿¯Ë Ù˘ ÌÓ‹Ì˘, £ÂÛÛ·ÏÔÓ›ÎË 1998. ;∞Ó·ÛÙ·ÛÈ¿‰Ë˜ °. & ÃÂΛÌÔÁÏÔ˘ ∂., Δ· ÚfiÛˆ· Ù˘ ÌÓ‹Ì˘: ∏ ʈÙÔÁÚ·Ê›· ÛÙË £ÂÛÛ·ÏÔÓ›ÎË ÙÔ˘ ªÂÛÔÔϤÌÔ˘, £ÂÛÛ·ÏÔÓ›ÎË 1998. ;∞Ó·ÛÙ·ÛÈ¿‰Ë˜ °. & ÃÂΛÌÔÁÏÔ˘ ∂., ΔÛÈÌÈÛ΋-∞Á›·˜ ™ÔÊ›·˜-¢È·ÁÒÓÈÔ˜: ∏ ‰È·‰ÚÔÌ‹ Ù˘ ÌÓ‹Ì˘, £ÂÛÛ·ÏÔÓ›ÎË 1997. ;μÂϤÓ˘ °., Δ· Ù›¯Ë Ù˘ £ÂÛÛ·ÏÔӛ΢, £ÂÛÛ·ÏÔÓ›ÎË 1998. ;°Ô‡Ó·Ú˘ μ., 1884, ÂÓÙfi˜ ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘. ΔÔ ˙‹ÙËÌ· Ù˘ ÌÂÙÔÓÔÌ·Û›·˜ ÙÔ˘ ¶‡ÚÁÔ˘ ÙÔ˘ ∞›Ì·ÙÔ˜, £ÂÛÛ·ÏÔÓÈΤˆÓ ¶fiÏȘ/°Ú·Ê¤˜ Î·È ¶ËÁ¤˜ 6000 ¯ÚfiÓˆÓ, Ù¯. 1, £ÂÛÛ·ÏÔÓ›ÎË 1997, 100-105 ;¢ËÌËÙÚÈ¿‰Ë˜ μ., ∏ ÙÔÔÁÚ·Ê›· Ù˘ £ÂÛÛ·ÏÔӛ΢ ηٿ ÙËÓ ÂÔ¯‹ Ù˘ ΔÔ˘ÚÎÔÎÚ·Ù›·˜ 1430-1912, £ÂÛÛ·ÏÔÓ›ÎË 1983. ;¢‹ÌÔ˜ £ÂÛÛ·ÏÔӛ΢ & ∂ıÓÈÎfi ∫¤ÓÙÚÔ Ã·ÚÙÒÓ Î·È Ã·ÚÙÔÁÚ·ÊÈ΋˜ ∫ÏËÚÔÓÔÌÈ¿˜ – ∂ıÓÈ΋ ÷ÚÙÔı‹ÎË: ÿÚÙ˜ ÔÏ‡Ê˘ÏÏÔÈ Ù˘ £ÂÛÛ·ÏÔӛ΢, ·ÂÈÎÔÓ›ÛÂȘ Ù˘ fiÏ˘ Û ÌÂÁ¿ÏË Îϛ̷η, Ù¤ÏË 19Ô˘ –·Ú¯¤˜ 20Ô‡ ·È., £ÂÛÛ·ÏÔÓ›ÎË 2006. ;∂ıÓÈ΋ ΔÚ¿Â˙· Ù˘ ∂ÏÏ¿‰Ô˜ / ¶ÔÏÈÙÈÛÙÈÎfi ∫¤ÓÙÚÔ μÔÚ›Ԣ ∂ÏÏ¿‰Ô˜, ∏ ;Mats Lieberg, (reviewer: Mr. E. Hekimoglou), Thessaloniki 1944: Jean Lieberg’s photo documents, Thessaloniki 1999 ;Mr. G. Anastasiadis & Mr. E. Hekimoglou, Mr. Dimitrios Digas (1876 – 1974): The first Macedon minister, Thessaloniki 2002 ;Mr. G. Anastasiadis & Mr. E. Hekimoglou, The "lost Egnatia" of Thessaloniki, Thessaloniki 2002 ;Mr. G. Anastasiadis & Mr. E. Hekimoglou, Waterfront – Ports – The White Tower: The struggle of memory, Thessaloniki 1998 ;Mr. G. Anastasiadis & Mr. E. Hekimoglou, The faces of memory: The photograph in interwar Thessaloniki, Thessaloniki 1998 ;Mr. G. Anastasiadis & Mr. E. Hekimoglou, Tsimiski – Aghias Sophias – Diagonios: The path of memory, Thessaloniki 1997 ;Velenis G., The walls of Thessaloniki, Thessaloniki 1998 ;Gounaris μ., 1884, in the White Tower. The issue of the Blood Tower renaming, Thessalonikeon Polis/ Scriptures and Sources 6000 years old, issue 1, Thessaloniki 1997, 100 – 105 ;Dimitriadis μ., The topography of Thessaloniki during the ottoman occupation 1430 – 1912, Thessaloniki 1983 ;Municipality of Thessaloniki & National Map & Cartographic Inheritance Centre – National Map Archive: Multi-leaved maps of Thessaloniki, large scale representations of the city, late 19th – early 20th century, Thessaloniki 2006 ;National Bank of Greece/ Cultural Centre of Northern Greece,
T H E S S A L O N I K I
257 k
μ π μ § π √ ° ƒ ∞ º π ∞
£ÂÛÛ·ÏÔÓ›ÎË ÛÙÔ ÌÂÙ·›¯ÌÈÔ ‰‡Ô ·ÈÒÓˆÓ: ¶ÚÔÛ¤ÁÁÈÛË ÛÙËÓ fiÏË Ì¤Û· ·fi ·ÏȤ˜ ηÚÙÔÛÙ¿Ï (1896-1913) [™˘ÏÏÔÁ‹ μ. ∞. ª·˘ÚÔÌÌ¿ÙË], £ÂÛÛ·ÏÔÓ›ÎË 1990. ;∂ıÓÈ΋ ΔÚ¿Â˙· Ù˘ ∂ÏÏ¿‰Ô˜ / ¶ÔÏÈÙÈÛÙÈÎfi ∫¤ÓÙÚÔ μÔÚ›Ԣ ∂ÏÏ¿‰Ô˜, ∏ £ÂÛÛ·ÏÔÓ›ÎË Ì¤Û· ·fi ÙÔ Ê·Îfi ÙÔ˘ ªÂÁ¿ÏÔ˘ ¶ÔϤÌÔ˘: ºˆÙÔÁڷʛ˜ Ù˘ ™ÙÚ·ÙÈ¿˜ Ù˘ ∞Ó·ÙÔÏ‹˜ (1915-1919), £ÂÛÛ·ÏÔÓ›ÎË 1991. ;∂Ï¢ı¤Ú· ∑ÒÓË & §ÈÌ‹Ó £ÂÛÛ·ÏÔӛ΢, √ §ÈÌ‹Ó £ÂÛÛ·ÏÔӛ΢ 19251960, £ÂÛÛ·ÏÔÓ›ÎË 1960. ;∫·Ú·‰‹ÌÔ˘-°ÂÚfiÏ˘ÌÔ˘ ∞ÏÂÍ¿Ó‰Ú·, ∏ ·ÓÔÈÎÔ‰fiÌËÛË Ù˘ £ÂÛÛ·ÏÔӛ΢ ÌÂÙ¿ ÙËÓ ˘ÚηÁÈ¿ ÙÔ˘ 1917, £ÂÛÛ·ÏÔÓ›ÎË 1986. ;∫·Ú·Ì‹ÙÛÔ˜ ¢., ∏ fiÏË Ì·˜ ÎÈ ÂÌ›˜ ¿ÏÏÔÙÂ Î·È ÙÒÚ·: £ÂÛÛ·ÏÔÓ›ÎË 1941-2005, £ÂÛÛ·ÏÔÓ›ÎË 2005. ;∫¤ÓÙÚÔ πÛÙÔÚ›·˜ £ÂÛÛ·ÏÔӛ΢, ¤ÎıÂÛË ÈÛÙÔÚÈÎÒÓ ÓÙÔÎÔ˘Ì¤ÓÙˆÓ Ù˘ £ÂÛÛ·ÏÔӛ΢, £ÂÛÛ·ÏÔÓ›ÎË 1985. ;∫˘ÚÈ·˙fiÔ˘ÏÔ˜ μ., Δ· ÂÓ‹ÓÙ· ¯ÚfiÓÈ· ÙÔ˘ ¶·ÓÂÈÛÙËÌ›Ô˘ £ÂÛÛ·ÏÔӛ΢ 1926-1976, £ÂÛÛ·ÏÔÓ›ÎË 1976. ;§¤ÙÛ·˜ ∞., πÛÙÔÚ›· Ù˘ £ÂÛÛ·ÏÔӛ΢, Ù. ∞ã, £ÂÛÛ·ÏÔÓ›ÎË 1961. ;ª·Î‰ÔÓÈÎfi ªÔ˘ÛÂ›Ô ™‡Á¯ÚÔÓ˘ Δ¤¯Ó˘ &ÀÔ˘ÚÁÂ›Ô ¶ÔÏÈÙÈÛÌÔ‡ & ¢‹ÌÔ˜ £ÂÛÛ·ÏÔӛ΢ [ÂÈÌ. μ. ∫ÔÏÒÓ·˜], £ÂÛÛ·ÏÔÓ›ÎË 1912-1992: 8 ‰ÂηÂٛ˜ ÓÂÔÂÏÏËÓÈ΋˜ ·Ú¯ÈÙÂÎÙÔÓÈ΋˜, £ÂÛÛ·ÏÔÓ›ÎË 1993. ;ª·ÎÚ‹˜ º. - ¶··‰ËÌËÙÚ›Ô˘ Ã., «√È ‰È·‰Ô¯ÈΤ˜ Ê¿ÛÂȘ ΢ÚÈfiÙËÙ·˜ ÙÔ˘ ¶·Ï·ÈÔ‡ ∫˘‚ÂÚÓ›Ԣ Ù˘ £ÂÛÛ·ÏÔӛ΢ (1915-1948)», π°ã ¶·ÓÂÏÏ‹ÓÈÔ πÛÙÔÚÈÎfi ™˘Ó¤‰ÚÈÔ (29-31 ª·˝Ô˘ 1992) ¶Ú·ÎÙÈο, £ÂÛÛ·ÏÔÓ›ÎË 1993. ;ª·ÓÙÔÔ‡ÏÔ˘-¶·Ó·ÁȈÙÔÔ‡ÏÔ˘ £. & ÃÂΛÌÔÁÏÔ˘ ∂., πÛÙÔÚ›· Ù˘ ∂ȯÂÈÚËÌ·ÙÈÎfiÙËÙ·˜ ÛÙË £ÂÛÛ·ÏÔÓ›ÎË. ∏ √ıˆÌ·ÓÈ΋ ¶ÂÚ›Ô‰Ô˜, ∫ÙËÌ·ÙÔÏÔÁÈΤ˜ ¶ËÁ¤˜. Δ¤ÏË 19Ô˘, ·Ú¯¤˜ 20Ô‡ ·ÈÒÓ·, £ÂÛÛ·ÏÔÓ›ÎË 2004. ;√ÚÁ·ÓÈÛÌfi˜ §È̤ÓÔ˜ £ÂÛÛ·ÏÔӛ΢, ∂ÓËÌÂÚˆÙÈÎfi ¢ÂÏÙ›Ô, £ÂÛÛ·ÏÔÓ›ÎË 2004. ;¶··‰ËÌËÙÚ›Ô˘ ¢., «√ Ó¤Ô˜ ÂÈ‚·ÙÈÎfi˜ ÛȉËÚÔ‰ÚÔÌÈÎfi˜ ÛÙ·ıÌfi˜ Ù˘ £ÂÛÛ·ÏÔӛ΢», £ÂÛÛ·ÏÔÓÈΤˆÓ ¶fiÏȘ Ù¯. 13 (π·ÓÔ˘¿ÚÈÔ˜-ª¿ÚÙÈÔ˜ 2004) 128-143.
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k 258
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏
B I B L I O G R A P H Y
;¶··‰ËÌËÙÚ›Ô˘ ¢., «ΔÔ ÙÚ·›ÓÔ Ù˘ ª›ÎÚ·˜ ÛÙ· ¯ÚfiÓÈ· ÙÔ˘ ªÂÁ¿ÏÔ˘ ¶ÔϤÌÔ˘ (1915-1918)», £ÂÛÛ·ÏÔÓÈΤˆÓ ¶fiÏȘ Ù¯. 13 (π·ÓÔ˘¿ÚÈÔ˜ª¿ÚÙÈÔ˜ 2004) 84-95. ;¶··˙ÒÙÔ˜ £., «ΔÔ „ËÊȉˆÙfi ÙˆÓ ÎÙËÙfiÚˆÓ ÙÔ˘ ∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘ £ÂÛÛ·ÏÔӛ΢», ª·Î‰ÔÓÈο, ¶·Ú¿ÚÙËÌ· ·Ú. 5, ∞ÊȤڈ̷ ÛÙË ÌÓ‹ÌË ™Ù˘ÏÈ·ÓÔ‡ ¶ÂÏÂηӛ‰Ë, £ÂÛÛ·ÏÔÓ›ÎË 1983 365-376. ;¶··ÛÙ¿ı˘, Ã. & ÃÂΛÌÔÁÏÔ˘ ∂., «∏ ¯·Ì¤ÓË Â˘Î·ÈÚ›· ÁÈ· ÔÈÎÔÓÔÌÈ΋ ·˘Ù¿ÚÎÂÈ· ÙÔ˘ ·ÓÂÈÛÙËÌ›Ô˘ £ÂÛÛ·ÏÔӛ΢: ∏ ÂÚÈÔ˘Û›· Ù˘ › ÙÔ˘ÚÎÔÎÚ·Ù›·˜ ÂÏÏËÓÈ΋˜ ÎÔÈÓfiÙËÙÔ˜», £ÂÛÛ·ÏÔÓÈΤˆÓ ¶fiÏȘ Ù¯. 7 (ª¿ÚÙÈÔ˜ 2002) 33-46. ;¶··ÛÙ¿ı˘, Ã. & ÃÂΛÌÔÁÏÔ˘ ∂., «∏ £ÂÛÛ·ÏÔÓ›ÎË Ù˘ ˘ÚηÁÈ¿˜ 1819 ∞˘ÁÔ‡ÛÙÔ˘ 1917», £ÂÛÛ·ÏÔÓÈΤˆÓ ¶fiÏȘ Ù¯. 11, (™Â٤̂ÚÈÔ˜ 2003) 11-77. ;ƒÔ‡· ∂˘ÊÚÔÛ‡ÓË & ÃÂΛÌÔÁÏÔ˘ ∂., πÛÙÔÚ›· Ù˘ ∂ȯÂÈÚËÌ·ÙÈÎfiÙËÙ·˜ ÛÙË £ÂÛÛ·ÏÔÓ›ÎË, 1900-1940. √È ÌÂÁ¿Ï˜ ÂȯÂÈÚ‹ÛÂȘ Î·È ÔÈ ÂȯÂÈÚËÌ·ÙÈΤ˜ ÔÈÎÔÁ¤ÓÂȘ, £ÂÛÛ·ÏÔÓ›ÎË 2004. ;™·‚‚·˝‰Ë˜ ¶. & ª·Ó٤Ϸ˜ ∞., ¶fiÏȘ ¶·ÓÂÈÛÙËÌ›Ô˘ ¶fiÏȘ: ∏ ÈÛÙÔÚ›· ÙÔ˘ ¯ÒÚÔ˘ Ù˘ ¶·ÓÂÈÛÙËÌÈÔ‡ÔÏ˘ ÙÔ˘ ∞¶£ ̤۷ ·fi ¯¿ÚÙ˜ Î·È ÙÔÔÁÚ·ÊÈο ‰È·ÁÚ¿ÌÌ·Ù·, £ÂÛÛ·ÏÔÓ›ÎË 2000. ;™‡ÏÏÔÁÔ˜ ∞ÁÚÔÓfiÌˆÓ ΔÔÔÁÚ¿ÊˆÓ ªË¯·ÓÈÎÒÓ μfiÚÂÈ·˜ ∂ÏÏ¿‰·˜, £ÂÛÛ·ÏÔÓ›ÎË ÛÙÔ˘˜ ¯¿ÚÙ˜, £ÂÛÛ·ÏÔÓ›ÎË 19085. ;Δ˙ÈÔ‡Ù˙È· ∂ϤÓË, ΔÔ ÙÂÓÂΉ¤ÓÈÔ ™¯ÔÏÂ›Ô Ù˘ £ÂÛÛ·ÏÔӛ΢: ΔÔ Û¯ÔÏÂ›Ô ÙˆÓ ÚÔÛʇÁˆÓ, £ÂÛÛ·ÏÔÓ›ÎË 2002. ;ÀÔ˘ÚÁ›ÔÓ ∫ÔÈÓˆÓÈ΋˜ ¶ÚÔÓÔ›·˜ – °ÂÓÈ΋ ¢È‡ı˘ÓÛȘ √ÈÎÈÛÌÔ‡, ÿÚÙ˘ £ÂÛ·ÏÔӛ΢ 1:10.000, £ÂÛÛ·ÏÔÓ›ÎË 1956. ;ÀÔ˘ÚÁÂ›Ô ¶ÔÏÈÙÈÛÌÔ‡ & Ministère des Affaires Etrangères [ÂÈÌ. μ. ∫ÔÏÒÓ·˜], ∏ £ÂÛÛ·ÏÔÓ›ÎË ÛÙË ‰È¿ÚÎÂÈ· ÙÔ˘ ÚÒÙÔ˘ ·ÁÎÔÛÌ›Ô˘ ÔϤÌÔ˘, £ÂÛÛ·ÏÔÓ›ÎË 1989. ;ÀÔ˘ÚÁÂ›Ô ¶ÔÏÈÙÈÛÌÔ‡-4Ë ∂ÊÔÚ›· ¡ÂˆÙ¤ÚˆÓ ªÓËÌ›ˆÓ, ¡ÂÒÙÂÚ· ÌÓËÌ›· Ù˘ £ÂÛÛ·ÏÔӛ΢, £ÂÛÛ·ÏÔÓ›ÎË, 1985-86. ;ÃÂΛÌÔÁÏÔ˘ ∂. & Danacioglu Esra, ∏ £ÂÛÛ·ÏÔÓ›ÎË ÚÈÓ ·fi 100 ¯Úfi-
;Mr. D. Papadimitriou, "The new passenger railway station of Thessaloniki", Thessalonikeon Polis, issue 13 (January – March 2004) 128 – 143 ;Mr. D. Papadimitriou, "The train of Mikra during the Great War (1915 – 1918)", Thessalonikeon Polis, issue 13 (January – March 2004) 84 – 95 ;Mr. Th. Papazotos, "The founders’ mosaic of the temple of Aghios Dimitrios in Thessaloniki», Makedonika, Annex No. 5; To the memory of Mr. Stylianos Pelekanidis, Thessaloniki 1983 365 – 376 ;Mr. Ch. Papastathis & Mr. E. Hekimoglou, "The lost chance for financial self-sufficiency of the university of Thessaloniki: The fortune of the Greek Community during the ottoman occupation", Thessalonikeon Polis, issue 7 (March 2002) 33 – 46 ;Mr. Ch. Papastathis & Mr. E. Hekimoglou, "Thessaloniki during the fire 18 – 19 August 1917", Thessalonikeon Polis, issue 11, (September 2003) 11 – 77 ;Mrs. Efrosyni Roupa & Mr. E. Hekimoglou, The History of Entrepreneurship of Thessaloniki, 1900 – 1940. The big enterprises and the business families, Thessaloniki 2004 ;Mr. P. Savaidis & A. Bandelas, Polis Panepistimiou Polis: The history of the Aristotle University of Thessaloniki campus site through maps and topographic plans, Thessaloniki 2000 ;Association of Agronomists Topographer Engineers of Northern Greece, Thessaloniki in maps, Thessaloniki 1985 ;Mrs. Eleni Tzoutzia, The tin school of Thessaloniki: The refugees’ school, Thessaloniki 2002 ;Ministry of Social Welfare – Settlement Office, Map of Thessaloniki 1:10.000, Thessaloniki 1956 ;Ministry of Culture & Ministry of Foreign Affairs [reviewer: Mr. V. Kolonas], Thessaloniki during the First World War, Thessaloniki 1989
T H E S S A L O N I K I
259 k
μ π μ § π √ ° ƒ ∞ º π ∞
ÓÈ·: ΔÔ ÌÂÙ¤ˆÚÔ ‚‹Ì· ÚÔ˜ ÙË ¢‡ÛË, £ÂÛÛ·ÏÔÓ›ÎË 1998. ;ÃÂΛÌÔÁÏÔ˘ ∂. & ƒÔ‡· ∂., ¢ÈÂıÓ‹˜ ŒÎıÂÛË £ÂÛÛ·ÏÔӛ΢ 1925-2000, 75 ¯ÚfiÓÈ· ÈÛÙÔÚ›·, £ÂÛÛ·ÏÔÓ›ÎË, 2000. ;ÃÂΛÌÔÁÏÔ˘ ∂. & ƒÔ‡· ∂., ∏ ÔÈÎÔÓÔÌ›· Ù˘ μfiÚÂÈ·˜ ∂ÏÏ¿‰·˜ ̤۷ ·fi ÙȘ ÛÂÏ›‰Â˜ Ù˘ «μÈÔÌ˯·ÓÈ΋˜ ∂ÈıÂÒÚËÛ˘», 1955-1984, ∞ı‹Ó· 2004. ;ÃÂΛÌÔÁÏÔ˘ ∂., ∏ ÈÛÙÔÚ›· ÙÔ˘ ÀÔ˘ÚÁ›Ԣ ª·Î‰ÔÓ›·˜-£Ú¿Î˘, £ÂÛÛ·ÏÔÓ›ÎË 2005. ;ÃÂΛÌÔÁÏÔ˘ ∂., £ÂÛÛ·ÏÔÓ›ÎË: ΔÔ˘ÚÎÔÎÚ·Ù›· Î·È ªÂÛÔfiÏÂÌÔ˜. ∫›ÌÂÓ· ÁÈ· ÙËÓ ÈÛÙÔÚ›· Î·È ÙËÓ ÙÔÔÁÚ·Ê›· Ù˘ fiÏ˘, £ÂÛÛ·ÏÔÓ›ÎË 1996. ;ÃÂΛÌÔÁÏÔ˘ ∂., §ÂÍÈÎfi ∂ȯÂÈÚËÌ·ÙÈÒÓ Ù˘ £ÂÛÛ·ÏÔӛ΢, 1900-1940. ∞˘ÙÔÙÂÏ‹˜ ÙfiÌÔ˜ ÛÙË ÛÂÈÚ¿ πÛÙÔÚ›· Ù˘ ∂ȯÂÈÚËÌ·ÙÈÎfiÙËÙ·˜ ÛÙË £ÂÛÛ·ÏÔÓ›ÎË, £ÂÛÛ·ÏÔÓ›ÎË 2004.
;Ministry of Culture – 4th Recent Monuments Curator Office, Recent Monuments of Thessaloniki, Thessaloniki, 1985-86 ;Mr. E. Hekimoglou & Danacioglu Esra, Thessaloniki 100 years ago: The hanging step to the West, Thessaloniki 1998 ;Mr. E. Hekimoglou & Mrs. E. Roupa, International Trade Fair of Thessaloniki 1925 – 2000, 75 years of history, Thessaloniki, 2000 ;Mr. E. Hekimoglou & Mrs. E. Roupa, The economy of Northern Greece through the pages of the "Viomichaniki Epitheorisi" [i.e. Industrial Review], 1955 – 1984, Athens 2004 ;Mr. E. Hekimoglou, The History of the Ministry of Macedonia – Thrace, Thessaloniki 2005 ;Mr. E. Hekimoglou, Thessaloniki: Turkish occupation and Interwar years. Texts on the history and topography of the city, Thessaloniki 1996 ;Mr. E. Hekimoglou, Dictionary of the Businessmen of Thessaloniki, 1900 – 1940. Self-inclusive volume in the series of The History of Entrepreneurship of Thessaloniki, Thessaloniki 2004.
k 260
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∂Àƒ∂Δ∏ƒπ√ SITE
(∞ӷʤÚÂÙ·È Ô ·ÚÈıÌfi˜ Ù˘ ʈÙÔÁÚ·Ê›·˜. ¢ÂÓ ·Ô‰ÂÏÙÈÒıËÎ·Ó ÔÈ fiÚÔÈ: ÚÔÎ˘Ì·›·, ·Ú·Ï›· Î·È «§Â˘Îfi˜ ¶‡ÚÁÔ˜»)
;∞ÁÁÂÏ¿ÎË, Ô‰fi˜ 43, 51, 54, 55, 56, 58 ;∞Á›· ™ÔÊ›·, Ó·fi˜ 47, 69, 98, 100 ;∞Á›· ΔÚÈ¿‰·, Û˘ÓÔÈÎÈÛÌfi˜ 30, 107 ;∞Á›· ºˆÙÂÈÓ‹, Û˘ÓÔÈÎÈÛÌfi˜ 51,65, 106 ;∞Á›·˜ ™ÔÊ›·˜, Ô‰fi˜ 95, 96, 97, 99 ;∞Á›·˜ ™ÔÊ›·˜, Ï·Ù›· 98, 99 ;ÕÁÈÔ˜ ¢ËÌ‹ÙÚÈÔ˜, Ó·fi˜ 79, 80, 81, 102. æËÊȉˆÙfi 82 ;ÕÁÈÔ˜ ∂˘ı‡ÌÈÔ˜ 68 ;ÕÁÈÔ˜ £ÂÚ¿ˆÓ, Ó·fi˜ 3 ;ÕÁÈÔ˜ ªËÓ¿˜, Ó·fi˜ 5 ;ÕÁÈÔ˜ ¡¤ÛÙÔÚ·˜, ı¤ÛË Ó·Ô‡ 80 ;ÕÁÈÔ˜ ¶·‡ÏÔ˜, Û˘ÓÔÈÎÈÛÌfi˜ 104 ;ÕÁÈÔ˜ °ÚËÁfiÚÈÔ˜ ¶·Ï·Ì¿˜, Ó·fi˜ 97 ;∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘, Ô‰fi˜ 7, 64, 81, 84 ;∞Á›Ô˘ ∫ˆÓÛÙ·ÓÙ›ÓÔ˘, Ó·fi˜ 50 ;∞Á›Ô˘ ªËÓ¿, Ô‰fi˜ 97 ;∞ÂÚÔ‰ÚfiÌÈÔ £ÂÛÛ·ÏÔӛ΢ 109, 110 ;∞ÎÚÔfiψ˜, Ô‰fi˜ 66 ;∞ÎÚfiÔÏË 104 ;∞Ï·Ù˙¿ πÌ·Ú¤Ù 79. ºÈ¿ÏË 80 ;∞Ï¢ÚÔ¿˙·ÚÔ˘, Ô‰fi˜ 92
Δ√¶√£∂™πø¡ INDEX
(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
T H E S S A L O N I K I
261 k
E À ƒ ∂ Δ ∏ ƒ π √
Δ √ ¶ √ £ ∂ ™ π ø ¡
;∞ÏÏ·Ù›ÓË, ·Ï¢ÚfiÌ˘ÏÔ˜ 87, 88 ;∞ÏÏ·Ù›ÓË, ÔÈΛ· 88, 89 ;∞Ó·ÁÂÓÓ‹Ûˆ˜, Ô‰fi˜ 4 ;∞Ó¿ÎÙÔÚÔ 112 ;ÕÓˆ ¶fiÏË 98, 104 ;∞ÓÒÙ·ÙË μÈÔÌ˯·ÓÈ΋ ™¯ÔÏ‹ 97 ;∞Ô‚¿ıÚ·, §Â˘ÎÔ‡ ¶‡ÚÁÔ˘ 37 ;∞ÔÛÙfiÏÔ˘ ¶·‡ÏÔ˘ Ô‰fi˜ 73, 74 ;∞ډ¢ÙÈ΋ ‰ÈÒÚ˘Á· 108 ;∞ÚÈÛÙÔÙ¤ÏÔ˘˜, Ô‰fi˜ 102 ;∞ÚÈÛÙÔÙ¤ÏÔ˘˜, Ï·Ù›· 1, 6, 18, 28, 29, 102 ;∞Ú¯·›· ∞ÁÔÚ¿ 1 ;∞Ú¯·ÈÔÏÔÁÈÎfi ÌÔ˘ÛÂ›Ô 56, 58 ;∞ÛÙÂÚÔÛÎÔÂ›Ô 65 ;∞ÛÙfiÚÈ·, ηÊÂÓÂ›Ô Â› Ô‰Ô‡ ΔÛÈÌÈÛ΋, 95 ;∞ÛÙfiÚÈ·, ηÊÂÓÂ›Ô ·Ú·ÏÈ·Îfi 30 ;∞Ã∂¶∞, ÓÔÛÔÎÔÌÂ›Ô 1, 65 ;μ·Ï·ÁÈ¿ÓÓË, Û¯ÔÏ‹ 97 ;μ·Ï·Ô‡ÚË, ̤Á·ÚÔ 103 ;μ·ÛÈϤˆ˜ °ÂˆÚÁ›Ô˘ Ô‰fi˜ 41, 42, 43, 44, 49 ;μÂÓÈ˙¤ÏÔ˘ Ô‰fi˜ 24, 83, 93, 94, 101 ;μÈÎÙfiÚÈ·, ̤Á·ÚÔ 5 ;μÏ·Ù¿‰ˆÓ, ÌÔÓ‹ 79 ;μÏ¿¯Ô˜, Ù·‚¤ÚÓ· 47 ;μ˘˙¿ÓÙÈÔ, Û˘ÓÔÈÎÈÛÌfi˜ 2 ;°·ÏÂÚ›Ô˘ ·„›‰· 72, 73, 74, 75. 76 ;°ÂÓ› Δ˙·Ì› 56 ;°ÂÓ› Ã·Ì¿Ì 79, 80 ;°ÂÚÌ·ÓÔ‡ ¡ÈÎÔÏ¿Ô˘, Ô‰fi˜ 58 ;°ÂˆÚÁÈ΋ ΔÚ¿Â˙· ª·Î‰ÔÓ›·˜, ÎÙ›ÚÈÔ 97 ;°™¡ 106
;Alevropazarou, street 92 ;Allatini, flourmill 87, 88 ;Allatini, mansion 88, 89 ;Anageniseos, street 4 ;Ano Poli 98, 104 ;Apostolou Pavlou, street 73, 74 ;Aristotelous, square 1, 6, 18, 28, 29, 102 ;Aristotelous, street 102 ;Ancient Forum 1 ;Archaeological Museum 56, 58 ;Army Corps, 3rd 49 ;Astoria, café at the waterfront 30 ;Astoria, café on Tsimiski Street, 95 ;Baltadorou, residence 98 ;Bank of Athens, building 5 ;Bank of Industry, building 5 ;Bank of Thessaloniki, storehouses 12, 13 ;Bey Hamam 78, 93 ;Bezesteni 83 ;Byzantium, quarter 2 ;Chalkeon Mosque 77 ;Chalkeon, street 77 ;Charilaou, region 2 ;Chemical Industry of Northern Greece 113 ;Chrysostomou Smyrnis, street 21, 31, 32 ;Cinemas: Dionysia 96, Ethnikon 32, 33, Zephyros 28, Ilysia 6, 47, Kentriko 32, Palace, 34 ;Citadel 104 ;Commercial Union, building 83 ;Conservatory 42, 44 ;Consulate of the U.S.A. 31, 32
k 262
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏
S I T E
I N D E X
;¢∂£ 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›ÙÂÚÔ ∂ıÓÈ΋˜ ¶·Ú·ÁˆÁ‹˜ 51, 65. ¶‡ÚÁÔ˜ √Δ∂ 60, 61 ;¢ÂÛÂÚ¤, Ô‰fi˜ 42, 43, 55, 58 ;¢ËÌËÙÚ›Ô˘ °Ô‡Ó·ÚË, Ô‰fi˜ 34 ;¢È·‚·Ù¿ 113 ;¢È·ÁÒÓÈÔ˜, Ô‰fi˜ 103 ;¢ÈηÛÙËÚ›ˆÓ, ¶Ï·Ù›· 78, 102 ;¢ÈÔÈÎËÙ‹ÚÈÔ 84, 85, 86 ;¢ÚfiÛÔ˘, ̤Á·ÚÔ 5 ;∂ÁÓ·Ù›·, Ô‰fi˜ (£ÂÛÛ·ÏÔӛ΢) 7, 6, 72, 73, 77, 92, 93, 94 ;∂ıÓÈ΋ ΔÚ¿Â˙·, ÎÂÓÙÚÈÎfi ηٿÛÙËÌ· 5. ÀÔηٿÛÙËÌ· ™ÈÓÙÚÈ‚·Ó›Ô˘ 74. ¶ÚÔÛˆÚÈÓ‹ ÛÙ¤Á·ÛË 97 ;∂ıÓÈ΋˜ ∞̇Ó˘, Ô‰fi˜ 37, 38, 39, 41, 64, 104 ;∂ı‡Ï, ‚ÈÔÌ˯·Ó›· 114 ;∂Ï¢ıÂÚ›·˜, Ï·Ù›· 1, 5, 24. ΔfiÔ˜ Ì·ÚÙ˘Ú›Ô˘ 25, 26 ;∂ÌÔÚÈ΋˜ ∂ÓÒÛˆ˜, ̤Á·ÚÔ 83 ;ŒÓˆÛË ™˘ÓÙ·ÎÙÒÓ, ÁÚ·Ê›· 96 ;∂ÍÔ¯ÒÓ, ψÊfiÚÔ˜ 39 ;∂Ù·‡ÚÁÈÔ 67 ;∂ÚÌ›ÔÓ, ÂÛÙÈ·ÙfiÚÈÔ 34, 35 ;∂ÚÌ›ÔÓ, ̤Á·ÚÔ 83 ;∂ÚÌÔ‡ Ô‰fi˜ 83, 98, 100, 101 ;∂˘·ÁÁÂÏ›ÛÙÚÈ·, ÎÔÈÌËÙ‹ÚÈÔ 65 ;∑ÔÁÁÔÏfiÔ˘ÏÔ˘, ÁÏ˘Ùfi 7 ;∏ÏÂÎÙÚÈ΋ ÂÙ·ÈÚ›·, 29. ¶ÂÚ›ÙÂÚÔ ÛÙÔÓ Î‹Ô ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘ 40 ;£¤·ÙÚ·: μ·ÛÈÏÈÎfi 1, 40, 44. ∫Ú·ÙÈÎfi μÔÚ›Ԣ ∂ÏÏ¿‰Ô˜ 41. ™ÙÚ·ÙȈÙÈÎfi 43 ;πÓÙ·ÓÙÈÁȤ, Û¯ÔÏ‹ 89 ;π¯ı˘·ÁÔÚ¿ Ó¤·, 23 ;∫·ÏÏ¿ÚË, Ô‰fi˜ 22, 31
;Despere, street 42, 43, 55, 58 ;Diagonios, street 103 ;Diavata 113 ;Diikitirio (i.e. Residency) 84, 85, 86 ;Dikastirion, square 78, 102 ;Dimitriou Gounari, street 34 ;Dore, cafe 48, 104 ;Drossou, building 5 ;Editors’ Association, offices 96 ;Egnatia, street (in Thessaloniki) 7, 6, 72, 73, 77, 92, 93, 94 ;Electric company, 29; Kiosk at the White Tower Garden 40 ;Eleftherias, square 1, 5, 24; Torture site 25, 26 ;Eptapyrgio 67 ;Ermeion, building 83 ;Ermeion, restaurant 34, 35 ;Ermou, street 83, 98, 100, 101 ;Esso Pappas 113 ;Ethnikis Amynis, street 37, 38, 39, 41, 64, 104 ;Ethyl, Industry 114 ;Evaggelistria, cemetery 65 ;Exohon, avenue 39 ;Fish market, new, 23 ;Folklore & Ethnologic Museum of Macedonia 90, 105 ;Fountain 50 ;Francaise, building 31, 34, 36 ;Galerius Arch 72, 73, 74, 75, 76 ;General Army Hospital 106 ;Germanou Nikolaou, street 58 ;Hamidie, street 38 ;Hamza Bey 92, 94 ;Hellenic Bank, building 5
T H E S S A L O N I K I
263 k
E À ƒ ∂ Δ ∏ ƒ π √
Δ √ ¶ √ £ ∂ ™ π ø ¡
;∫·Ì‚Ô˘Ó›ˆÓ, Ô‰fi˜ 74 ;∫¿Ô˘Ê ÃÔÊ, ηٿÛÙËÌ· 83 ;∫·¿ÓÈ (·Ï¢ڷÁÔÚ¿) 92, 93 ;∫·Ú·ÌÔ˘ÚÓ¿ÎÈ 112 ;∫·ÚfiÏÔ˘ ¡ÙËÏ, Ô‰fi˜ 95 ;∫·ÛÛ¿Ó‰ÚÔ˘ Ô‰fi˜ 79, 81 ;∫·ÙÔ‡ÓË, Ô‰fi˜ 5 ;∫·˘Ù·ÓÙ˙fiÁÏÂÈÔ ™Ù¿‰ÈÔ 106 ;∫·ÊÂÓÂ›Ô ÙˆÓ Î˘ÓËÁÒÓ 47 ;∫ÂÚ·ÌÔÔ‡ÏÔ˘, Ô‰fi˜ 99 ;∫‹Ô˜ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘ 23, 40, 41 ;∫ÈÓËÌ·ÙÔÁÚ¿ÊÔÈ: ¢ÈÔÓ‡ÛÈ· 96, ∂ıÓÈÎfiÓ 32, 33, ∑¤Ê˘ÚÔ˜ 28, ∏χÛÈ· 6, 47, ∫ÂÓÙÚÈÎfi 32, ¶·ÏÏ¿˜, 34 ;∫ÔÌÓËÓÒÓ, Ô‰fi˜ 5, 100 ;∫ÔÓÈfiÚ‰Ô˘, ̤Á·ÚÔ 28 ;∫Ô˘ÓÙÔ˘ÚÈÒÙÔ˘, Ô‰fi˜ 39 ;∫fiÊÊ·, ̤Á·ÚÔ 5 ;∫˘„¤ÏË, ·ÓÙÔˆÏÂ›Ô 103 ;§·ÔÁÚ·ÊÈÎfi ∂ıÓÔÏÔÁÈÎfi ªÔ˘ÛÂ›Ô ª·Î‰ÔÓ›·˜ 90, 105 ;§¤Û¯Ë ºÚÔ˘Ú¿˜ £ÂÛÛ·ÏÔӛ΢ 41, 104 ;§Â˘ÎÔ‡ ¶‡ÚÁÔ˘, ∫‹Ô˜ 40 ;§Â˘ÎÔ‡ ¶‡ÚÁÔ˘, Ï·Ù›· 39, 41, 44 ;§È̤ӷ˜: ∫ÚË›‰ˆÌ· 14, 19, 20. ∫˘Ì·ÙÔıÚ·‡ÛÙ˘ 2, 16. ¡ËÛ›‰· 17. ¶ÚÔ‚Ï‹Ù˜ 5, 6, 9, 15, 16, 17, 18, 19, 20. ΔÂψÓÂ›Ô 5, 14, 19 ;§Ô˘ÙÚ¿ ¶·Ú¿‰ÂÈÛÔ˜ 78 ;§Ô¯›· ∂ÓÙ¤Ì, Ô‰fi˜ 21 ;ª·Î‰ÔÓÈ΋˜ ∞̇Ó˘, Ô‰fi˜ 80 ;ª·Î‰ÔÓÔÌ¿¯ˆÓ Ï·Ù›· 98 ;ªÂÁ¿ÏÔ˘ ∞ÏÂÍ¿Ó‰ÚÔ˘ ψÊfiÚÔ˜, ‚Ï. ¡¤· ¶·Ú·Ï›· ;ªÂÙˆÚÔÛÎÔÂ›Ô 65 ;ªËÙÚÔÔÏ›ÙÔ˘ πˆÛ‹Ê, Ô‰fi˜ 21, 31, 32
;Higher School of Industry 97 ;Hospital, Kentriko 65 ;Hotels: ∞μC 74, Majestic 28, 30, Macedonia Palace 44, Mediterranee 23, Bastazini 34, Splendid palace 23, 39 ;Hunters’ Café 47 ;Idadye, school 89 ;International Trade Fair of Thessaloniki 1, 7, 49, 50, 51, 54, 55,, 56, 58, 59, 60, 61, 62, 63, 65, 106; Commercial Centre 54, 63. Entertainment Park 60; E.E.C. kiosk 63; National Output kiosk 51, 65; Tower of Telecommunications Company 60, 61 ;Irrigation canal 108 ;Kaftatzoglio Stadium 106 ;Kallari, street 22, 31 ;Kamvounion, street 74 ;Kapani (flour market) 92, 93 ;Karabournaki 112 ;Karolou Dil, street 95 ;Kassandrou, street 79, 81 ;Katouni, street 5 ;Kauf Hof, shop 83 ;Keramopoulou, street 99 ;Kipseli, grocery 103 ;Koffa, building 5 ;Komninon, street 5, 100 ;Koniordou, building 28 ;Kountouriotou, street 39 ;Lochia Edem, street 21 ;Macedonian Struggle Museum, building 97 ;Makedonikis Amynis, street 80 ;Makedonomachon, square 98 ;Mega Lou Alexandria, avenue, see. New Waterfront
k 264
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏
S I T E
I N D E X
;ª›ÎÚ· 22 ;ªÈÛÈÚÏfiÁÏÔ˘, ÎÏÈÓÈ΋ 98 ;ªÔ‰È¿ÓÔ π·ÎÒ‚, ηÙÔÈΛ· 90 ;ªÔ‰È¿ÓÔ, ·ÁÔÚ¿ 100 ;ªÔÓ·ÛÙËÚ›Ô˘, Ô‰fi˜ 4 ;ªÔÚÁÎÂÓÙ¿Ô˘ Ô‰fi˜ 31 ;ªÔÛÎÒÊ, ̤Á·ÚÔ 103 ;ªÔ˘ÛÂ›Ô ª·Î‰ÔÓÈÎÔ‡ ∞ÁÒÓ·, ÎÙ›ÚÈÔ 97 ;ª·ÏÙ·‰ÒÚÔ˘, ÔÈΛ· 98 ;ªÂ˙ÂÛÙ¤ÓÈ 83 ;ª¤Ë Ã·Ì¿Ì 78, 93 ;¡¤· ∞ÁÔÚ¿ 100 ;¡¤· ¶·Ú·Ï›· ‹ ψÊfiÚÔ˜ ªÂÁ¿ÏÔ˘ ∞ÏÂÍ¿Ó‰ÚÔ˘ 42, 90, 105 ;¡¤ÔÈ ∂È‚¿Ù˜ 30 ;¡›Î˘, ψÊfiÚÔ˜ 22 ;¡ÈÎÔÏ¿Ô˘ °ÂÚÌ·ÓÔ‡, Ô‰fi˜ 44 ;¡ÔÌ·Ú¯›· £ÂÛÛ·ÏÔӛ΢, ÎÙ›ÚÈÔ 88 ;¡ÔÛÔÎÔÌ›Ô, ∫ÂÓÙÚÈÎfi 65 ;¡ÔÛÔÎfïÓ, Û¯ÔÏ‹ 65 ;¡ÙÔÚ¤ ηÊÂÓÂ›Ô 48, 104 ;•ÂÓԉԯ›·: ∞μC 74, ª·˙¤ÛÙÈÎ 28, 30, ª·Î‰ÔÓ›· ¶·ÏÏ¿˜ 44, ªÂÓÙÈÙÂÚ·Ó¤ 23, ª·ÛÙ·˙›ÓË 34, ™Ï¤ÓÙÈÙ ¶·ÏÏ¿˜ 23, 39 ;¶·Ï·ÈÔ‡ ∞ÏÔÁÔ¿˙·ÚÔ˘, Ô‰fi˜ 21 ;¶·Ï·ÈÒÓ ¶·ÙÚÒÓ °ÂÚÌ·ÓÔ‡, Ô‰fi˜ 72, 73 ;¶·Ï¤ ÓÙ ™ÔÚ 5, 59, 65 ;¶·Ó·Á›· ÷ÏΤˆÓ, Ó·fi˜ 77, 78, 93 ;¶·Ó·Á›·˜ ¢ÂÍÈ¿˜, Ó·fi˜ 74 ;¶·ÓÂÈÛÙËÌȷ΋ μÈ‚ÏÈÔı‹ÎË 7 ;¶·ÓÂÈÛÙËÌÈÔ‡ÔÏË 65. °ÂˆÔÓÔ‰·ÛÔÏÔÁÈ΋ Û¯ÔÏ‹ 64, 65. £ÂÔÏÔÁÈ΋ Û¯ÔÏ‹ 65. π·ÙÚÈ΋ Û¯ÔÏ‹ 64. ∫ÙËÓÈ·ÙÚÈ΋ Û¯ÔÏ‹ 64. ∫ÙËÓÈ·ÙÚÈΤ˜ ÎÏÈÓÈΤ˜ 4. ¡√∂, Û¯ÔÏ‹, ÎÙ›ÚÈÔ 7. ¶ÔÏ˘Ù¯ÓÈ΋ Û¯ÔÏ‹ 65. ºÈÏÔÛÔÊÈ΋ Û¯Ô-
;Meteorological station 65 ;Mikra 22 ;Ministry of Macedonia – Thrace, building 84 ;Misirloglou, clinic 98 ;Mitropolitou Iosif, street 21, 31, 32 ;Modiano Jacob, residence 90 ;Modiano, market place 100 ;Monastiriou, street 4 ;Morgentau, street 31 ;Moscov, building 103 ;National Bank, central branch 5; Sintrivaniou Square branch 74; Temporary settlement 97 ;Nea Agora 100 ;Nei Epivates 30 ;New Waterfront or Megalou Alexandrou, avenue 42, 90, 105 ;Nikis, avenue 22 ;Nikolaou Germanou, street 44 ;Nurses, school of 65 ;Observatory 65 ;Palace 112 ;Palais de Sports 5, 59, 65 ;Paleon Patron Germanou, street 72, 73 ;Paleou Alogopazarou, street 21 ;Panagia Chalkeon, temple 77, 78, 93 ;Panagia Dexia, temple 74 ;PAOK, playground 65 ;Paradisos Bathes 78 ;Pavlou Mela, street 41, 47, 48, 103 ;Pedio Areos 49, 56, 87 ;Peraia 30 ;Petit Palais, poolroom 31, 34
T H E S S A L O N I K I
265 k
E À ƒ ∂ Δ ∏ ƒ π √
Δ √ ¶ √ £ ∂ ™ π ø ¡
Ï‹, ÎÙ›ÚÈÔ, 7. º˘ÛÈÎÔÌ·ıËÌ·ÙÈ΋ Û¯ÔÏ‹ 64, 65 ;¶∞√∫ Á‹Â‰Ô 65 ;¶·‡ÏÔ˘ ªÂÏ¿, Ô‰fi˜ 41, 47, 48, 103 ;¶Â‰›Ô ÕÚˆ˜ 49, 56, 87 ;¶ÂÚ·›· 30 ;¶ÔÏ˘Ù¯Ó›Ԣ, Ô‰fi˜ 5 ;¶ÚÔÍÂÓÂ›Ô ∏¶∞ 31, 32 ;¶ÚÔÊ‹Ù˘ ∏Ï›·˜, Ó·fi˜ 79 ;¶ÙÈ ¶·Ï·›, ÛÊ·ÈÚÈÛÙ‹ÚÈÔ 31, 34 ;¶˘Ï·›·, Û˘ÓÔÈÎÈÛÌfi˜ 2 ;ƒÔÙfiÓÙ·, ›ÛÔ‰Ô˜ 70, 72. ªÈÓ·Ú¤˜ 66 ;™·Ï·Ì›ÓÔ˜, Ô‰fi˜ 5, 10, 11 ;™·ÌÚ‹ ¶·Û¿, Ô‰fi˜ 24 ;™·Ú¿ÓÙ· ∂ÎÎÏËÛȤ˜, Û˘ÓÔÈÎÈÛÌfi˜ 64, 104 ;™·Ú¿ÓÙ· ∂ÎÎÏËÛÈÒÓ, Ô‰fi˜ 64 ;™›ÁÁÂÚ Ì¤Á·ÚÔ 83, 101 ;™È‰ËÚÔ‰ÚÔÌÈ΋ ÁÚ·ÌÌ‹ 4, 22, 24 ;™È‰ËÚÔ‰ÚÔÌÈÎfi˜ ™Ù·ıÌfi˜ £ÂÛÛ·ÏÔӛ΢ 4, 39, 111 ;™ÈÓÙÚÈ‚¿ÓÈ 50 ;™ÈÓÙÚÈ‚·Ó›Ô˘ Ï·Ù›· 7, 38, 50, 60, 62, 74 ;™Ô˘ÏÂ˚Ì¿Ó, Ù¤ÌÂÓÔ˜ 92 ;™ÙÚ·ÙËÁÔ‡ ∫·ÏÏ¿ÚË, Ô‰fi˜ 22, 31, 34, 35, 36 ;™ÙÚ·Ù‹˜, ÂÛÙÈ·ÙfiÚÈÔ 28 ;™ÙÚ·ÙÔ‡ §ÂˆÊfiÚÔ˜ 49, 50, 58 ;™¯ÔÏ‹ Δ˘ÊÏÒÓ, 105 ;™ÒÌ· ™ÙÚ·ÙÔ‡ °ã49 ;Δ›¯Ë ‚fiÚÂÈ· 66, 67, 71 ;Δԇ̷ 2, 3, 4 ;ΔÚ¿Â˙· ∞ıËÓÒÓ, ÎÙ›ÚÈÔ 5 ;ΔÚ¿Â˙· μÈÔÌ˯·Ó›·˜, ÎÙ›ÚÈÔ 5 ;ΔÚ¿Â˙· ∂ÏÏ¿‰Ô˜, ÎÙ›ÚÈÔ 5
;Phaliro, region2 ;Philikis Eterias, street 104 ;Philippou, old street 70, 71 ;Polytechniou, street 5 ;Port: Seawall 14, 19, 20, breakwater 2, 16, artificial island 17, wharfs 5, 6, 9, 15, 16, 17, 18, 19, 20, customs 5, 14, 19 ;Prefecture of Thessaloniki, building 88 ;Prophitis Ilias, temple 79 ;Pylaia, quarter 2 ;Quay, of White Tower 37 ;Railway 4, 22, 24 ;Railway Station of Thessaloniki 4, 39, 111 ;Rotonda, entrance 70, 72. Minaret 66 ;Sabri Pasha, street 24 ;Salaminos, street 5, 10, 11 ;Saranta Eklissies, quarter 64, 104 ;Saranta Eklission, street 64 ;School for the Blind, 105 ;School of Chemistry 64, 65 ;Singer, building 83, 101 ;Sintrivaniou, square 7, 38, 50, 60, 62, 74 ;Stratigou Kallari, street 22, 31, 34, 35, 36 ;Stratis, restaurant 28 ;Stratou, avenue 49, 50, 58 ;Stream at Aggelaki Street 55 ;Student hostels 64 ;Suleiman, mosque 92 ;Theatres: Royal 1, 40, 44; National of Northern Greece 41; Military 43 ;Thessaloniki Garrison Service Club 41, 104 ;Toumpa 2, 3, 4
k 266
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏
S I T E
I N D E X
;ΔÚ¿Â˙· £ÂÛÛ·ÏÔӛ΢, ·Ôı‹Î˜ 12, 13 ;ΔÚÈÁÒÓÈÔ 66 ;ΔÚÔ¯ÈÔ‰ÚÔÌÈ΋ ÁÚ·ÌÌ‹ 22, 24, 72 ;Δ۷ω¿ÚË, Û˘ÓÔÈÎÈÛÌfi˜ 64 ;ΔÛÈÌÈÛ΋ Ô‰fi 5, 58, 95, 96, 102, 103, 104 ;ΔÛÈÚÔÁÈ¿ÓÓË ÛÙÚ·ÙfiÂ‰Ô 42, 43 ;ΔÛÈÚÔÁÈ¿ÓÓË, Ô‰fi˜ 47, 48 ;Δ˘ÚÔÏfiË, ̤Á·ÚÔ 28, 30 ;ÀÔ˘ÚÁÂ›Ô ª·Î‰ÔÓ›·˜ – £Ú¿Î˘, ÎÙ›ÚÈÔ 84 ;º¿ÏËÚÔ, ÂÚÈÔ¯‹ 2 ;ºÈÏÈ΋˜ ∂Ù·ÈÚ›·˜, Ô‰fi˜ 104 ;ºÈÏ›Ô˘, Ô‰fi˜ ·Ï·È¿ 70, 71 ;ºÔÈÙËÙÈΤ˜ ÂÛٛ˜ 64 ;ºÚ·ÓÛ¤˙ ̤Á·ÚÔ 31, 34, 36 ;÷ÏΤˆÓ Ô‰fi˜ 77 ;÷ÏΤˆÓ Δ¤ÌÂÓÔ˜ 77 ;ÿÌ˙· ª¤Ë 92, 94 ;÷ÌÈÓÙȤ, Ô‰fi˜ 38 ;Ã∞¡£, ̤Á·ÚÔ 43, 91 ;Ã∞¡£, Ï·Ù›· 50, 58, 62 ;÷ÚÈÏ¿Ô˘, ÂÚÈÔ¯‹ 2 ;ÃÂÈÌ¿ÚÚÔ˜ Ô‰Ô‡ ∞ÁÁÂÏ¿ÎË, 55 ;ÃËÌÂ›Ô 64, 65 ;ÃËÌÈη› μÈÔÌ˯·Ó›·È μÔÚ›Ԣ ∂ÏÏ¿‰Ô˜ 113 ;ÃÚ˘ÛÔÛÙfiÌÔ˘ ™Ì‡ÚÓ˘, Ô‰fi˜ 21, 31, 32 ;ø‰Â›Ô 42, 44 ;Esso Pappas 113
;Tramway 22, 24, 72 ;Trigonio 66 ;Tsaldari, quarters 64 ;Tsimiski, street 5, 58, 95, 96, 102, 103, 104 ;Tsirogianni, camp 42, 43 ;Tsirogianni, street 47, 48 ;Tyroloi, building 28, 30 ;University campus 65; School of Agronomics & Forestry 64, 65; School of Theology 65; School of Medicine 64; School of Veterinary Science 64; Veterinary Clinics 4; School of Law & Economics, building 7; School of technology 65; School of Philosophy, building, 7; School of Physics & Mathematics 64, 65 ;University library 7 ;Valagianni, school 97 ;Valaouri, building 103 ;Vassileos Gheorgiou, street 41, 42, 43, 44, 49 ;Venizelou, street 24, 83, 93, 94, 101 ;Victoria, building 5 ;Vlachos, tavern 47 ;Vlatadon, monastery 79 ;Walls, northern 66, 67, 71 ;White Tower Garden 23, 40, 41 ;White Tower, square 39, 41, 44 ;Yeni Hamam 79, 80 ;Yeni Tzami 56 ;YMCA of Thessaloniki, building 43, 91 ;YMCA of Thessaloniki, square 50, 58, 62 ;Zoggolopoulos, sculpture of 7
T H E S S A L O N I K I
267 k
