1st walk.pdf

8/12/2019 1st Walk.pdf

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52



53

White Tower – City Museum (1)At the meeting point of the eastern wall and the sea wall, stood a Byzan-tine tower, on the site of which, in the late 15 th century, the White Towerwas erected. It was constructed as part of a programme of moderniza-tion of the city’s forti!cations by the Ottomans (cf. Alysseos Tower). Theemblem of Thessaloniki, the White Tower is intimately connected withthe city’s history and the focus of many legends re"ected in its variousnames. The original appellation Fort of Kalamaria (18 th century) was re-placed in the 19 th century by the names Tower of the Janissaries and

Tower of Blood (Kanli Kule), referring to the use of the building as aprison for long-term convicts and those sentenced to death, whom the

Janissaries executed on the battlements, dyeing with blood the exteriorwalls of the tower. In 1890, the tower was whitewashed by a convictin exchange for his freedom, and was henceforth known by its currentname, the White Tower. As a defensive structure, it is a characteristicexample of the great circular towers of the late 15 th and early 16 th cen-turies, which replaced the mediaeval rectangular structures, re"ectingthe need to defend against the new and widespread practice of artillerywarfare, which led to a variety of innovations in defensive architecture.

The structure was topped by a conical, wooden roof, covered in lead. Un-til the early 20 th century, a polygonal defensive structure survived at thebase of the tower, with apertures for cannon at sea level along the sidesand small towers serving as look-out points at the corners of the enclos-ing wall. This complex was constructed in 1535-36, according to the

Turkish inscription found above the entrance. Inside the White Tower,there is now a museum where visitors can enjoy a digital reconstructionof the city’s history.

Eastern Walls – pre-wall (2)(On Filikis Etaireias St., at the rear of the Bank of Piraeus building ).

Part of the pre-wall of the eastern defences can be made out (late 4th

-early 5 th cent.). The eastern walls were demolished in 1889.

From the SEAFRONT and the WHITE TOWER

to SYNTRIVANI,AGHIOS DIMITRIOSand AGHIA SOPHIA Streets

1 st WALK



54

Church of Nea Panayia (3) This was formerly known as the Megali or Trani Panayia and is dedi-cated to the Dormition of the Virgin. The current church was con-structed in 1727, on the site of the Byzantine monastery of the Virgin

(12th

cent.), which was destroyed by !re in around 1690. The churchis a three-aisled basilica with a gynaeconite (women’s gallery), whose

1st WALK: FROM THE SEAFRONT AND THE WHITE TOWER



55

features of particular interest include the wall paintings of the chanceland gynaeconite, which highlight the tendency in 18 th century paintingto return to the models of the Palaeologan period. Also of interest arethe gilded, wooden screen, now bearing contemporary icons, and the

episcopal throne, the pulpit and the painted ceiling – all dating fromthe 19 th century.

TO SYNTRIVANI, AGHIOS DIMITRIOS AND AGHIA SOPHIA STREETS

• !"# $ "# %& &'($) !"# *&( &! # !+, 1960.The seafront of the city in a picture of the 1960’s.



56

Eastern Walls – pre-wall (4)(At the junction of Filikis Etaireias St. and Tsimiski St. ).Here part of the pre-wall of the eastern walls (late 4 th -early 5 th cent.) canbe seen. They adjoined – in the area within the walls – the rows of seatsof the Roman hippodrome (Ippodromiou Square). A similar section (onFilikis Etaireias st.) is preserved in the precincts of the ThessalonikiMunicipal Library building. The eastern walls were demolished in 1889.

Church of Aghios Konstantinos (Ippodromiou Square) (5)A contemporary church built on the site of an older Byzantine church.

The seats of the eastern part of the hippodrome were excavated in theplot to the north.

Church of Aghios Antonios (6) The church is dedicated to Saint Anthony the Great and the BlessedAnthony, a local saint from Veroia, patron saint of the mentally af!icted.It dates from the 18 th century. It served as a chapel to the MetropolitanChurch of Thessaloniki and was used as an asylum for the mentally ill;one can still see the large, iron rings on the screen where the patientswere tied with chains. The north-eastern corner of the church is formedon part of a triangular tower of the eastern wall of the city; the churchwas built to abut on the wall. The church has two aisles and the wooden,painted screen has survived from the original interior decoration.


!"#$%&'()* +,&-* $-/ 0%/(-1 21&3-/4 5-/ +&6"'7-5-'%8$9' 3'9 $6: ;(<%"6 =6>'9(,:9:959&9"$?"%#: $6* @%""9B-:8(6*.Interior space of the White Tower4 nowadays used for exhibiting digital reconstructions ofThessaloniki.



57

Church of the Hypapante - Presentation of Christ in the Temple (7) The church in its current form – a three-aisled, wooden-roofed basilica – underwent radical repair in 1841. Written sources (early 16 th century)refer to its concession as a dependency of the Aghia Anastasia monas-tery in Halkidiki. Its ownership by the monastery is also mentioned inthe inscription of 1841, found on the eastern wall of the church. Frag-ments of Roman and Byzantine statuary are incorporated in the north-ern wall, along with part of an inscription dating from 1272 and referringto a Byzantine of!cial. The carved wooden decoration dates from the 19 th century, while the altar door with the scene of the Annunciation is by anartist of the Cretan School in the 16 th century.

Eastern Walls – pre-wall (8)A section of the main wall and pre-wall on the eastern side (late 4 th -early 5 th cent.) has survived next to Egnatia Street, towards SyntrivaniSquare, where the ‘boulevard’ of the Byzantines ended at the main gatein the city walls, the Cassandreotic Gate, of which no visible traces re-main. Some traces (lower section) of the wall continue to extend alongthe pedestrian walkway of K. Melenikou Street. Also in this vicinity onecan see parts of rectangular towers built of stone masonry dating fromRoman times, part of the Roman wall of the city built in the mid-3 rd century. These traces continue to be seen at intervals up until AghiouDimitriou Street, behind the G. Yennimatas Hospital.


• ! "!#$ ! %$& !' " ( ! )# %(&$* ' +' , -(" ' )-%!#.'/ * +, )- %$ 0!, #(1 ,$ !2Part of the main wall and pre3wall on the eastern side of the city/ at Syntrivani Square2



58

Old Philosophical School – Aristotle University (9) The building was erected by the Ottomans to house the Public ElementarySchool (Idadié), founded in 1887. The plans were drawn up by the Italianarchitect Vitaliano Poselli. The two two-storey wings must have been add-ed in 1908, following an increase in student intake. After the liberation ofthe city in 1912, the building was used to house the 2 nd Military Hospital,and then, in 1927, it became home to the University of Thessaloniki. Sincethen, the building has undergone frequent modi!cations and extensionswith the addition of a third "oor to the lateral wings, the building of therear wing and the re-design of the extensive underground areas.

Church of Panayia Dexia (10)A modern church on the site of the post-Byzantine church of AghiosYpatios.

The Palace of Galerius (11)(Navarino Square – Dim. Gounari. St.)At the archaeological site in Navarino Square, right in the historic centreof the city, fragmentary remains can be seen of signi!cant buildings,constructed for a variety of purposes, but all belonging to the Palace

of Galerius. Work on the pal-ace began in the early 4 th cen-tury AD and was completedin stages. This was the of!cialresidence used by the Emperor

and his retinue when he stayedin Thessaloniki. The Palace of Galerius is oneof the most important monu-ments of late antiquity in Thes-saloniki and the only one dat-ing from this period in Europewhere such extensive remainscan still be seen. The search forthe residence of the Tetrarchbegan in the early decades ofthe 20 th century and lasted un-til the 1970’s, bringing to lightfragmentary sections of themassive palace complex builtat the edge of the city, next tothe eastern walls. The imperialresidence featured a number ofdifferent structures – includ-ing the Rotonda, the Arch ofGalerius, the domed chamber

on D. Gounari Street and thehippodrome.


Plan of the surviving buildings of theGalerian Palace complex .

Legend 1. Rotonda 2. Arch of Galerius 3. Vaulted chamber4. Peristyle courtyard5. Basilica 6. Baths 7. Octagon



59

The central core of the excavated section of the palace, located in theNavarino Square archaeological site, consists of a peristyle courtyard sur-rounded on the western, southern and eastern sides by eleven rooms,arranged in the shape of the Greek letter !. To the east of this structure,surrounded by corridors with beautiful mosaic "oors, was a long, narrowhall with a vault on the southern side, identi#ed as a basilica. Abuttingon the basilica and the eastern city wall was the hippodrome, sections ofwhich can still be found in the basements and cellars of modern build-ings. Between the basilica and the eastern corridor, there is a vaultedwater storage chamber, constructed at a later phase of the complex. Tothe south-east and south-west of the marble stairs situated almost in thecentre of the southern corridor are the palace baths and a magni#centbuilding known as the Octagon, because of its octagonal ground plan.

The remains of the northern bath rooms were uncovered in the 1960’s. The total size of the structure, which stood on a main axis leading tothe southern entrance of the palace, is unknown. In ancient times, thebuilding underwent a great deal of modi#cation as the use of its variousparts was changed. The ground plan of the rooms, in the arrangementwe see today, dates from the #nal phase of construction. Archaeologistshave identi#ed the cold and warm baths, the restrooms, etc. North of thebaths, the remains of a vaulted water storage chamber can be seen, andto the east a building on two "oors with auxiliary rooms.

The Octagon faced the sea and to the south had a long, narrow vestibule(prothalamus or antechamber), which communicated with a large peri-style atrium, 47m wide. Its interior featured seven semicircular conches


• !" $%& ' ( !' ! ) *(+! '" ' , *'& -. '/0 1 ( 0 (2Panoramic view of the palace complex at Navarino Square2



60

and brilliant decoration in opulent marble. Its northern conch, facingthe entrance, reconstructed in the 4 th century, is larger than the othersand boasts ceramic decoration symbolizing the victory of the Cross. Thisbuilding must have !rst been intended as a throne or audience room,but its use was later changed and it became a Christian church.Work on the restoration of the remains of the palace in Navarino Squarebegan in 1993 and was completed in 2006.

The hippodrome, abutting on the eastern wall of the city, was 500m inlength and 125m wide. The northern end will have been about where theYpapanti Church now stands, while the southern circular section willhave been south of Mitropoleos Street. Remains of vaulted structureswhich must have formed the substructure of the spectators’ seats havebeen found along the western side (7 Ippodromiou Square), while the ab-sence of archaeological evidence on the eastern side raises many ques-tions about the existence or otherwise of a corresponding infrastructure.It was at the hippodrome, which remained in use until at least the early7 th century, that the infamous slaughter of the people of Thessalonikitook place in 390 AD, on the orders of the Emperor Theodosius.

To the west of the hippodrome (on I. Mihail St. and D. Gounari St.), therewas another richly decorated rectangular building, with a vault on thenorthern side and an entrance with a vestibule to the south. According toDanish archaeologist E. Dyggve, the imperial box must have been some-where near the intersection of D. Gounari and A. Svolou Streets, whichinclines us to conclude that the area of the rectangular, vaulted hall wasused for ceremonies which were associated with the presence of the Em-

peror at the Hippodrome. Some scholars maintain that this hall was thelast structure north of the main palace, while between it and the Arch ofGalerius there was probably a large forum, with access from the north.

Arch of Galerius (12) The arch, part of the Galerian complex, was built before 305 AD to com-memorate the victorious campaigns of Galerius against the Persians. Itwas erected at the intersection of the Via Regia, the main road arterycrossing the city from west to east, and the processional route whichlinked the palace to the Rotonda. It was originally designed with fourgateways, with four columns supporting the vault which covered thesquare area below. At a later phase, two pairs of arches were added tothe north and south, with four smaller columns, these possibly con-structed at different dates. Directly adjacent to the southern, smallerpillars there was a large rectangular space, 42.7m x 17.65m in size, laidwith a marble "oor, which served as a vestibule of the palace. Todayonly three of the eight pillars have survived. Relief scenes on marble,arranged in rows around the arch, relate episodes and !gures from thevictorious eastern campaign of Galerius in 297 AD, extolling – symboli-cally – the virtues of the !rst Tetrarchate (293-305 AD).

Rotonda (13) This is one of the oldest buildings in the city and the sixteen centuries it




61 TO SYNTRIVANI, AGHIOS DIMITRIOS AND AGHIA SOPHIA STREETS

• ! " #" % 1984, & '( ) #" *+"- #( "+ ' . /( " 0 ( ) +2355 ( " 67 -"+ * :+3 ';,"(30 &" & +; ) 5%-" +-# ;, ' 0+- < --5'&#" % •!# % = !# %>Aerial photograph of 1984, showing the Rotonda with its precincts and to the r ight, among theapartment blocks, the small church of Aghios Georgios>



62

has endured have left their mark on the structure. Its history, its vari-ous names and stages of construction have all been well illuminated byarchaeological, historical and architectural studies and by plans for res-toration over the last few decades, particularly in the period following theearthquake of 1978. The most recent historical research claims that thebuilding was constructed as a pagan temple. Its circular shape, uniquein Greece, suggests links with the Pantheon in Rome. The hemisphericaldome was built with bricks and, according to some scholars, had a cen-tral opening (oculus) to allow in fresh air and light. From the outside, thebuilding appears robust and solid, but the interior ground plan featuresrectangular conches, cut into the thickness of the wall and probablylined with marble. The conches were bordered with two columns bear-ing a curved epistyle. The main entrance to the building in the Romanperiod was on the southern side, on the axis of the processional routecommencing at the Arch of Galerius.

The building was converted into a Christian church at some time betweenthe end of the 4 th and the beginning of the 6 th century, most probably inthe reign of Theodosius the Great (379-395). The view most widely ac-cepted is that the church was dedicated to the Asomatoi, or Archangels,a name which was also used for the nearby gate in the eastern wall ofthe city and for the local neighbourhood of the building (there are refer-ences in Byzantine texts of the 9 th , 12 th and 14 th centuries). The churchalso served as the Metropolitan Cathedral of the city from 1523/24 to1590/91. The demolition of the wall of the eastern conch and the addi-


• !" $%& &' !$()&' *+ , *- ."/0 *' &' 1* $2 0'3 / ' * )*( 045 ' *+ 9 *+ 0 6207Interior view of the chancel conch of the Rotonda3 with the 9 th century wall paintings7



63 TO SYNTRIVANI, AGHIOS DIMITRIOS AND AGHIA SOPHIA STREETS

• ! #$! %!& '()* (&, )+%* %! ( *-.(/! %!& -+ 0 1&, (-# % 21) 3+//(. 45!&6Contemporary view of the Arch of Galerius, following the remodelling of the area by theMunicipality of Thessaloniki6

tion of the chancel (rectangular construction with semicircular apse tothe east) caused serious damage to the static balance and cohesion ofthe building. Another signi!cant addition during the period in which thebuilding was in use as a Christian church, was that of the closed androofed portico around the Roman nucleus, which communicated withthe central space through openings made in the walls of the conches.

The portico was probably destroyed in the severe earthquakes of theearly 7 th century. In the western conch, a new entrance with a narthexwas created, while the existing southern entrance had a propylon addedto it, with two chapels, an octagonal baptistery to the west and a circularmartyrium to the east. Part of the dome with its mosaic decoration col-lapsed in an earthquake in the 9 th century, and prompted the reinforce-ment of the whole structure through the construction of the two externalbuttresses. The continued emphasizing of the axis of the processionalroute of the Roman era, between palace, arch and Rotonda, supports theview that the latter was a Christian church from early Christian times upuntil the middle of the Byzantine era (11 th -12 th cent.).However, the most magni!cent remains of the early Christian phase ofthe monument are the extraordinarily beautiful and exquisite mosaics,in"uenced by the art of the Hellenistic East, the work of a remarkableworkshop of mosaic artists in Thessaloniki. The vaults of the concheswere decorated in mosaic, as were the arched openings of the oculi andthe dome, while the walls of the structure, up to the base of the dome,were lined with multi-coloured marble revetment, of which – sadly – not



64

a trace has remained. The sections of mosaic that remain, however, areastounding in their wealth of subject, their naturalistic rendering, theirvariety of colour and the brilliance of the gold and silver background.In 1590-91, the building was converted into a mosque by Sinan Pa!aand the sheikh of the nearby dervish community, Hortaci SüleymanEfendi. The tomb of the latter, and of a certain Yusuf Bey, are to befound in the burial enclosure outside the chancel of the church. Otherremains of the same period are the minaret, the fountain to the west ofthe building, and the portico of the western and southern entrance. Themosque was known as the Old Metropolis (Eski Metropol). It was trav-ellers in the 18 th and 19 th centuries who gave the building its commonname, i.e. the Rotonda.After the liberation of Thessaloniki in 1912, the building was returnedto the Christian congregation until 1914, when extensive archaeologicalresearch and excavation began. In 1917 it was converted into a Macedo-nian Museum. Later – and up until the earthquakes of 1978, when themost comprehensive restoration studies began – it housed an exhibitionof Christian statuary.

Church of Aghios Georgios (14) This small church is located opposite the western gate of the Rotondaenclosure and is a dependency of the Blessed Grigoris Monastery on Mt.Athos. It was to this church that the contents of the Rotonda were takenfor safety when the latter was turned into a mosque, and this is the rea-son why, after the liberation, the Rotonda was renamed Aghios Georgios.

A chapel of the Metropolitan of Thessaloniki until 1758, the church is athree-aisled basilica with an added space on the southern side, a resultof the radical renovation completed in 1815. More recent interventionshave altered both the exterior and the interior of the church.

Church of Aghios Panteleimonas (15) The identi"cation of the church is dif"cult, because the name is morerecent than the structure itself. Historical research has identi"ed it,however, with the Monastery of Theotokos Perivleptos, also known asthe Monastery of Kyr Isaak, from the monastic name of its founder, who,under the name of Jacob, served as Metropolitan of Thessaloniki from1295-1315. This monastery was linked with important intellectual "g-ures of the city in the 14 th century, including the scholar Thomas Mag-ister and the writer Matthaios Vlastaris. In 1548 it was converted into amosque, under the name Ishakiye Tzami. Another view has it that thePerivleptou Monastery was already in existence in the 12 th century andwas converted into a mosque in around 1500, by Ishak Celebi, the cadi of Thessaloniki, from whom it took its name. However, the architectureand wall paintings of the church date it to the late 13 th -early 14 th cen-tury and, together with other evidence, seem to support the "rst theory.Architecturally, it falls within the class of the complex four-column cru-

ciform inscribed church, with narthex and surrounding portico, endingto the east in two chapels. Very few of the original wall paintings have




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survived, in the prothesis and the diaconicon. They have been describedas transitional in technique, since they combine the monumental style,anti-classical perception and moulding of the painters of the 13 th cen-tury with the chromatic harmony and typology of face associated withthe work of the 14 th . This is why they have been dated to the end of the!rst decade of the 14 th century. The remainder of the wall paintings weredone during the Turkish repairs of the early 20 th century. From the pe-riod of the building’s conversion into a mosque, the base of the minaretand the marble fountain can still be seen in the courtyard.

Church of the Saviour (16)It was originally thought that this was the small Monastery of the Sav-iour ‘tou kur Kurou’, referred to in a chrysobull of 1364 of Emperor JohnV Palaeologue, at the Vatopedi Monastery. But archaeological researchand studies for the purposes of restoration, carried out at the buildingafter the 1978 earthquakes, uncovered new evidence and radically al-tered our understanding of the church. The original position of the altarwas found, while a small lead reliquary (dating from the consecration ofthe church) with an engraved inscription indicates that the church wasdedicated to the Virgin. Research also uncovered the original type ofthe church; the rare four-conch inscribed pattern. The !nding of gravesinside and around the church suggests that the building served funer-ary purposes. A coin found in the dome, placed there during construc-tion, dates the church to 1350. The narthex attached to the westernend is an addition dating from 1936, replacing an older narthex of the


• !" $%& '&( ) ' * !"( +,-- * .!&(/ -' ( 01( ' 2 34 2 5 / -, ! '67 -'8* '&( ,7 0"(9Panoramic view of eastern Thessaloniki/ in the early 34 th century/ from a postcard of the time9



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post-Byzantine period. The church is covered with an eight-sided dome,relatively high for a building of this size, while the articulation – with aseries of arches and brick pilasters – displays the characteristic featuresof Palaeologan church-building in Thessaloniki. It is certain that dur-ing the years of Ottoman rule the building was never converted into amosque, perhaps because of its small scale, or because it was located inthe Christian quarter of Panagouda, in the grounds of a private house.But the main discovery made during the restoration work after 1978 wasthat of the hitherto unknown wall paintings of the church, dating fromthe period 1350-1370. Their artistry offers invaluable testimony to thehitherto unknown artistic creativity at work in the city in the middle ofthis century, and reveals, through the selection of subjects, the spiritualorientation and preoccupations of contemporary thinkers.

Nedelkou Building (17) The building was erected in 1909 by I. Nedelkos and family, on a lot pur-chased in 1907. The two-storey structure had shops on the ground !oorand an apartment above. The façade is particularly interesting, with itslively decorative spirit and relief scenes – both characteristic of architec-tural decoration in the early decades of the 20 th century. The buildingeventually passed into the hands of the city council, it was restoredfollowing the 1978 earthquakes and has been leased to the AgioreitikiEstia, a foundation engaged in preserving and promoting the culturalheritage of Mt. Athos.


• ! "#$%& ', () ' * #+-.# /! 0 1+! #! ! 2 3* /4The Nedelkou building, home to the Agioritiki Estia 5Centre of Mount Athos64



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Old School of Domestic Science Building (18) This building has direct links with the history of education in Thessalo-niki during the years of Turkish rule, although we have limited informa-tion about its history from the of!cial Turkish archives. This lot on Egna-tia Street, close to the Panagouda Church, was purchased after the !reof 1890 in the historic centre of the city, and a school was built on thesite. It opened its doors in September 1893 and has survived down to thepresent day. The building has housed a whole succession of secondaryschools, including the historic School of Domestic Science for girls. It isan interesting example of neoclassical architecture, with a rigorous sym-metry on its austere facades and with some notable decorative features.

Church of Panayia Gorgoepikoos (Panagouda) (19)Dedicated to the Nativity of the Virgin, the church was built in 1818, re-placing an earlier church of the same name (as con•rmed by a codex of1789), which was destroyed by •re in 1817. It is a three-aisled, wooden-roofed basilica, with a gynaeconite. A number of important Byzantinerelics and treasures were found here – one of a number of indicationsthat there was once a Byzantine church on this site.

Church of Aghios Athanassios (20) The church is located at the junction of Egnatia and Socratous Streets,

but below street level. We cannot tell for sure if it stands on the site of anearlier church of the same name, known to us from 14 th century sources.

• !" # $ %"&"'!"$ ()*') + ,)- .%"&"')/0"12The Church of Panayia Gorgoepikoos .Panagouda12




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The ownership of the church was the cause of a number of disputesin the years of Turkish rule between the Metropolitan of Thessalonikiand the Vlatadon Monastery – the argument continuing throughout thesecond half of the 17 th and all of the 18 th centuries. It was destroyedby !re in 1817. After its reconstruction in 1818 it became a parishchurch. The building is a three-aisled basilica with a gynaeconite in theform of an internal gallery, in the shape of the Greek letter ". Of theoriginal interior decoration all that remains are the despotic throne andthe pulpit; the original and impressive wood-carved screen has madeway for a new one.

Acheiropoiitos Church (21) This is a large, early Christian basilica which has survived intact almostto its original height, built above a complex of Roman public baths. Upto the 14 th century, it is referred to as the Church of Panayia Theotokou,

indeed the Great Church of Theotokou, while in a document dated 1320,we !nd the !rst reference to the name Acheiropoiitos. The church is athree-aisled, wooden-roofed basilica with galleries. The traces of an exo-narthex on the western side may have been the eastern portico of theatrium of the basilica, which must now lie beneath the modern Make-donomachon Square. The present roof of the building is lower than theoriginal and this makes the external volume of the structure appear evenmore massive. But in the interior, the harmony and balance in the ar-ticulation of the various parts of the building, the indirect light diffusedby the multi-lobed windows of the exterior walls and the opulent and

imposing decoration create a completely different impression. The cen-tral aisle ends at the chancel in a great semicircular conch within whichare inscribed the synthronum and the episcopal throne. The chanceryrail is modern. The northern aisle ends in the easterly direction in themid-Byzantine chapel of Aghia Eirene. The restored structure added atthe middle of the external wall of the church is believed to have beenthe baptistery of the basilica. The original #oor with its great marbleslabs has survived. In the northern part of the grounds of the basilica,we see traces of a two-storey, vaulted annex, as well as the stairwaywhich led to the galleries. This stairway, in its current form, forms partof the extensive repairs carried out in the 7 th century in the aftermathof the earthquakes of 620-630. The carved decorations all form part ofa single whole, designed and executed for the basilica, and allow us todate the building reliably. The mosaics must be dated – along with thebuilding itself and the carved decorations - to some time after 450, inthe third quarter of the 5 th century. The founder’s inscription is to beseen on the intrados of the southern and central arch of the tribelon. Afew wall paintings have survived, but in poor condition, from the Byzan-tine period, in the southern aisle, on the wall above the southern row ofcolumns. The archaic stylistic and technical features and the schematicmeans of expression in the rendering of the !gures are a survival of late-

Comnenian art in the painting of the early 13 th century.




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Church of Aghia Sophia (22)From the 8 th century, at least, until its conversion into a mosque in1523/24, this was the Great Church of Thessaloniki, in other words theMetropolitan Cathedral of the city. It was built on the site of a large, !ve-aisled early Christian basilica, probably dating from the 5 th century, be-lieved to have been the !rst Episcopal church of the city. It has recentlybeen maintained that the structure once thought to be a Roman nym-phaeum, on the southern side of the modern Aghia Sophia, at the loca-tion known as the Holy Spring of John the Baptist (23) , was an earlyChristian baptistery and formed part of the episcopal church complex.

This baptistery was also built on the site of earlier and extensive Romanbuildings, including thermal baths. Excavations have been carried outaround the church, particularly on the southern side and on lots alongMakenzi King Street.Following the destruction of the basilica – probably in the earthquakesof 620-630, known to us from written sources – the present church wasbuilt. During the Frankish occupation (1204-1224), it was temporar-ily converted into a Catholic cathedral. A single-aisled chapel has beenuncovered in the northern wall (dating from before the 14 th century). An-other chapel was later created outside the north-western propylon. Onthe western side of the courtyard, corresponding roughly to the atriumof the early Christian basilica, there was a Palaeologan propylon with atriple row of columns on both the interior and exterior sides. It was de-molished in the repairs of 1908-1910.

• !" #$ #%& ' %( )%*+" ' ,,"-%.+/$ 0The Holy Church of Aghia Sophia of Thessaloniki0





It is believed that there existed originally a two-storey exo-narthex withstairs, incorporated into the church in the 7 th century, from the earlyChristian basilica. The small tower on the north-western corner, whichcontains a stairway to the galleries, is de!nitely a Turkish addition andshould be identi!ed with the original minaret. From the narthex, whichcommunicates freely with the aisles, we pass into the main church, com-prising a central cruciform nucleus, its centre covered by the great dome.

The upper "oor duplicates the disposition of the peristoon around thecentral nucleus, forming a series of galleries. The discovery of a numberof lead bulls in the galleries, and especially those of the south-westernsection, perhaps lends substance to the view that the administrative andsecretarial of!ces of the Metropolis were located here.Of the original carved decoration of the church only the columns andcapitals of the northern row on the ground "oor have survived. The capi-tals from the mid-7 th century, which were placed in the western entranceof the church after the !re of 1890, come from the late-Byzantine propy-lon, where they were already employed in second use.

The mosaics of Aghia Sophia are impressive examples of the Byzantineart of mosaic and date from three periods. Those of the !rst period areto be found in the semicircular vault covering the chancel area, in frontof the conch. At the spring-point of the vault and on both sides, on agold background, the founder’s inscriptions are to be seen, in cruciformmonograms and continuous script. The historical personages referredto are the Emperor Constantine VI and his mother Eirene Athinaia, whoruled jointly from 780-788. The same non-iconic decoration also fea-

tures a large cross in the conch, traces of which can still be seen inthe gold background, above the halo and next to the shoulders of theenthroned Platytera, a mosaic scene which is dif!cult to date. To the sec-ond period (9 th century) belongs the scene of the Ascension in the domeof the church. This is a monumental composition, in which the expres-sive !gures of the apostles are featured within a transcendental rockylandscape, an olive grove, with the still and transcendent !gure of theVirgin and those of the angels watching the Ascension of Christ within acircular doxa in the upper part of the dome.Of the wall paintings of the 11 th century in the narthex of the church, thereremain only a few !gures of holy monks, in the arches of the large open-ings in the western wall. The painted decoration, imitating marble facing,was done during the repairs of the church in the early 20 th century.

Church of Aghios Grigorios Palamas (24) (currently the MetropolitanChurch)

The church was built following the great !re of 1890, which destroyeda large part of the coastal zone of the city. The original design by ErnestZiller was modi!ed by the architect X. Paionidis, who was responsible forthe construction. The church was completed in 1914. Its architecturaltype is based on the Byzantine octagonal pattern, with neo-Roman and

neoclassical features, representing the eclectic current which in"uencedthe architecture of Thessaloniki in the late 19 th and early 20 th centu-



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ries. The original wall paintings were created by artist Nikolaos Kessanlisfrom Constantinople.

Greek Consulate General (25) The building was constructed in 1890-93, to plans by the eminent ar-chitect Ernest Ziller. It played a vital role in the historic events of theearly 20 th century, housing the Greek Consulate General. The districtin which it was located formed – from 1590 onwards – the centre ofthe Greek community in the city. This district preserved its charactereven after the !re of 1890, when it was decided to construct a buildingto house the Greek Consulate beside the Metropolitan Church. Inter-nal communication between the two buildings allowed the Consulateto be visited by Greeks who were Turkish nationals, without their visitbecoming known to the Turkish authorities. In May 1923, the buildingwas leased to the Church of Grigorios Palamas (Metropolitan Church of

Thessaloniki) and until 1978 housed state primary schools. In respect ofits architecture, it is one of the few modern buildings in the city to usethe basic features of neoclassicism. Following the earthquakes of 1978and the removal of the schools it housed, the restoration of the buildingwas completed and, since then, it has been home to the Museum of theMacedonian Struggle.

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