2nd walk.pdf

8/12/2019 2nd Walk.pdf

http://slidepdf.com/reader/full/2nd-walkpdf 1/20

72



73

• !"#$%&%'( – )*%+( %,%- !"#$%&%'( .1/!"#$"%& ()&*%+#& (),- &"./-0(, ),1 245,16 (89:0-$ 9+ )& (%;<*& )&!

Ernest Hébrard $2&)+5&8(+ , 9-,9+*$=> 5+0:4"&1 )0- ?@-A- > B.C D,9,F

)"#&!6 , (,9+"*-> B"*()&);5&!1C G 5+0:4"&1 $!)> @$ (!-;<++ ),- 2&5*)*=>

25$)+#$6 42&! @$ I"#(=&-)$- )$ <*&*=,)*=/ =)#"*$ ),1 245,1 9+ ),- 2$"$5*$F

=> 25$)+#$ B"*()&);5&!16 , &2&#$ @$ (!.=;-)"0-+ +92&"*=;1 =$* )&!"*()*=;1

%">(+*16 9$.$J*/ 2&5!)+5+#$16 K+-&<&%+#$ =$* =$:+-+#$C L* 4M+*1 (),- &<4

=$* ),- 25$)+#$ B"*()&);5&!1 =$@&"#(),=$- 9+ +*<*=4 D*/)$.9$ )&! NOP3C G

$"%*)+=)&-*=> )0- 4M+0- )0- =)*"#0- +92-;+)$* $24 ?!"02$Q=/ =$* $2&*=*$F

=/ > $"$I*=/ 2"4)!2$6 $24""&*$ 2"&,.&!9;-0- +92+*"*A- )&! Hébrard =$*

)0- R/550- (!-$<;5:0- )&!6 +-A <+- 5+#2&!- -+&I!J$-)*-;1 )/(+*1C

“0%'%',),#2”3 0%'"4 5( 67)5( !7%")( .Yahudi Hamami/ .8/S)$ )&!"=*=/ ;.."$:$ (!-$-)/)$* 9+ 2&55;1 &-&9$(#+1· 01 T&!)"4 ),1 U+F

./5,1 B.&"/1 VWazarFi kebir hamamiX6 01 T&!)"4 )0- R!-$*=A- VYadinlar

hamamiX =$* 01 T&!)"4 )0- ?I"$#0- VZahudi hamamiXC G )+5+!)$#$ &-&9$F

(#$6 2&! +#-$* =$* , .-0()4)+",6 &:+#5+)$* (), @;(, )&! 5&!)"&8 (+ 2+"*&%>

42&! =$)&*=&8($- $2&=5+*()*=/ ?I"$#&*C S89:0-$ 9+ )&- ?I5*.*/ [(+5+F

92> =$* )&!"=*=/ )+:);"*$6 *<"!)>1 )&! 5&!)"&8 >)$- =/2&*&1 Halil \]a6

#(01 )& #<*& 2"4(02& 9+ )& (!-A-!9& 9+./5& ()$I5/"%, =$* I+J#", )0- 9;F

(0- )&! N7&! $*A-$C $)/ 9#$ -+4)+", /2&M, 2&! I$(#J+)$* ()$ )!2&5&.*=/

=$* 9&":&5&.*=/ %$"$=),"*()*=/ )&! 9-,9+#&! 2"4=+*)$* .*$ 2"0Q94)+"&

=)#"*&6 2*@$-4- )&! 2"A)&! 9*(&8 )&! N^&! $*A-$C [& 5&!)"4 +#-$* <#<!9&6

.*$ /-<"+1 =$* .!-$#=+1C _%+* ),- )!2*=> )"*9+"> <*/)$K, )0- %A"0- VM!F

%"&#6 %5*$"&#6 J+()&#X6 +-<*$:;"&!($ )&*%&<&9#$6 9*9&89+-, I!J$-)*-4 25*-F

@&2+"#=5+*()& (8(),9$ <49,(,1 =$* +-<*$:;"&!($ +(0)+"*=> <*$=4(9,(,

9+ .!M&=&-#$9$C

9225$ !7%' 65+) .:/?#-$* , +==5,(#$ .8"0 $24 ),- &2&#$ /"%*(+ -$ $-$2)8((+)$* , $.&"/

),1 245,1 $24 )&!1 I!J$-)*-&81 $=49, %"4-&!1C $)/ ),- )&!"=&="$)#$ &

«`"$.=&9$%$5/1» +=)+*-4)$- <!)*=/ )&! -$&8C G (,9+"*-> ),1 9&":> +#-$*

$2&);5+(9$ ),1 )+5+!)$#$1 $-$=$)$(=+!>1 )&! NcfPC g201 4901 <,5A-&!-, =4.%, )&! j+"&8 o>9$)&16 & /9I0-$1 =$* )$ $"%*)+=)&-*=/ .5!2)/ 2&!

!;4 5+ !<=!> >?@=!>2# 5+ !<=?A BC6CDE=?A

$5+ =FG?> BE!<?A6C2# 5+ •!E!0=!

8%( •9E=•!D?>



74

!"#$%&' %# $&), *&+!- *&' &.%/ 0#. 123*#$%&' %# 5#.63# 8."&$%'$#9:#;'%'<#9 %=- >6&;#$3*=-, # &2?'*)- $&)- &$/@6%&' %=$ 0&;&'#?2'%'&A

$'*B 60#?B *&' %#$ %90# %=- 1&';'*B-C

D &2?&')%62= &$&E#2/ %=$ 6**;=3& @3$6%&' %#$ 7# &'!$&, &;;/ 0#2&A

F'*G- <$636- .0/2?#.$ 6 G@@2&E& &@'#26'%'*!$ <#$!$ %#. HH#., HI#., H4#.

*&' HJ#. &'!$&C 56%/ %=$ %#.2*'*B *&%/*%== # $&)- 0&2G<6'$6 %& ?G2'&

%K$ ?2'%'&$!$C L&%/ %=$ 0623#F# &.%B .$G1=&$ 60&$6';=<<G$6- *&%&A

%2#EG-, )0K- = &E&326= GM' *')$K$ %# HJNO, # 1#<1&2F'<)- &0) 16$6A

%'/$'*# 0#;6<'*) 0;#3# %# HNP7, 0.2*&@'G- *&%/ %#$ HP# *&' HO# &'!$&C

Q'& %#.- ;)@#.- &.%#9- &$&EG26%&' %& %#.2*'*/ *&%/%'?& *&' K- «L&<G$#

5#$&%B2'» RYanik SanastirTCS6%/ %=$ 0.2*&@'/ %#. HPUO M&$&*%3%=*6 %# HPJI, <6 %=$ 6031;6V= %#.

&2?'%G*%#$& W/;;= :;'#9E#., %#$ %90# %=- %23*;'%=- <6%&1."&$%'$B- 1&A

';'*B-C X 0;#9'#- 6K%62'*)- F'/*#<#- 63$&' 60=26&<G$#- &0) %# <0&A

2)*A2#*#*) %=- L6$%2'*B- Z.2!0=- *&' %# $6#*;&'*'<)C D 02K%#%.03&

*&' #' &$&$6K%'*G- %/6'- 0#. 0&2#.'/"6' = &2?'%6*%#$'*B *&' = 6K%62'*B

F'&*)<== %#. [@3#. 5=$/, &0#%G;6&$ %# 02)%.0# @'& $&#9- 0#. 'F29+=A

*&$ %=$ 3F'& 0623#F# %=$ 0);= *&' %=$ 062'EG26'& %=- >6&;#$3*=-C

“• •!” (4)

\%# 0;&3'# %K$ 0#;6#F#<'*!$ 606<1/6K$ %#$ '%#2'*) 0.2B$& %=- 0);=-,

0#. @3$#$%&$ %# F'/%=<& HPNNAHO]], F'&$#3?+=*6 %# HPN7 = ;6KE)2#- \&A<02B 0&/, = =<62'$B #F)- 86$'"G;#., &0) %# L#$/*' R^'#'*=%B2'#T GK- %=

•!"#" % &'(&)"*+ ,-'" (. /0"#". *") (. 1+ •)230%.4

Aerial photograph of the monumental axis of Aristotelous Square and Street4

I#- :ZW_:[`X\b [:X `Dc [Q_[\ \Xd_[\ L[_ `Dc [Q_Xe ^D5D`W_Xe



75

!"#$$#. &' ()*)# (+, #-/ (+0 120#(3# 4#6 4!(8 98:';0(#0 ()*)# (+, <2'=

:!,> -'""! ?!06# (+, '-'3#, ?:+$6)'-'6*+4#0 8, 9)-':64@, $('@, $(# (@"+

(+, ('A:4'4:#(3#,. B(+ @$+ (+, $('!, A-*:?9 ?!06 -'A -9:69"!)C#09 DE

9:2#$(*:6#> 4#F9093'> 2:#F93# 4#6 #-'*49,> #0*49 G9 $(# -#6G6! ('A B#';"

H'G6!0'. I 9)-':64* $('! H'G6!0'> 9)F#03J9(#6 )9 (+0 3G6# -'"9'G')64* ':=

2!08$+ )@?:6 4#6 (# )@$# (+, G94#9(3#, ('A KDKL> #0#F@:9(#6 G9 8, Site Saul

4#6 F@:9(#6 /(6 '64'G')*+49 $(# ?:/06# KME7=KMMK> -6#0N, $9 $?@G6# ('A

Vitaliano P'selli. O#(! (+ )92!"+ -A:4#26! ('A KDK7 4!+49 (' )92#";(9:'

()*)# (+,. &' KDQD )9 $?@G6# ('A O!:'"'A H'G6!0'> 4(3$(+49 (' 0@' ()*)#

(+, R4A:38, -:', (+0 'G/ T906J@"'AU> $(' '-'3' 4A:6#:?';0 $('6?93# Wrt Xeco>

$A0G@9(#6 G9 )9 (' ()*)# -'A G6#$N+49 $(+0 'G/ T#$. I:#4"93'A> /-'A

4A:6#:?93 (' 09'=#0#2900+$6#4/ $(A". T#$64/ $('6?93' (+, $('!, #-'(9"';0

'6 G;' 9$8(9:64'3 -9J/G:')'6> $?9G/0 4!9('6 )9(#Y; ('A,> -'A $A0G@'A0 (+0

'G/ 1:)'; )9 (+0 T#$. I:#4"93'A 4#6 (+ T906J@"'A )9 (+0 Z80', [:#2';)+.

&' 90G6#F@:'0 #A(/ #:?6(94('064/ $;0'"' #-'(9"93 -#:!""+"# 4#6 6$(':64*

)#:(A:3# (+, #4)*, ('A 9)-':64'; '34'A (80 H'G6!0' -'A Y9430+$9 ' B#';">('A -"'A$6/(9:'A (+, \8)#064*, <A('4:#(':3#, )9(! #-/ (' )92!"' '34'

O#)/0(' (+, O80$(#0(60';-'"+,.

• “!"#” (5)<092@:+49 #-/ (' )+?#064/ 1"3 H'G6!0' (' KDQQ 4#6 4#";-(96 ()*)# ('A

'64'G')64'; (9(:#2N0'A )9(#Y; (80 'GN0 <:6$('(@"'A,> 1:)';> O')0+0N0

4#6 T#$. I:#4"93'A. 130#6 @0# #-"/ ':'2N06' 4(3$)# )9 #9(8)#(64* -:/=

$']+ -'A $49-!J9(#6 )9 2A!"60+ $(@2+. &' $A0'"64/ $A24:/(+)# G6#$?3=

• !" #$% &'(')*)+$% ,--.(%/+012 3-#* .4 # ('#4 #01 56*(01 76*12 -8$#6.8/. #' 9:;<=

The Louloudadika district of Thessaloniki2 in front of the Bath of the Great Market2 in a photograph

of 9:;<=

B&I^ _`^\B [b<d\fHI O<_ &I^ g<b<h_<



76

!"#$ #&' &()"! *"+(,- .#"/ 01.+, "2) +&+32) 4$#"/**+)"#$ 0$.5/ !) *!$5/

.#"#*"10#"# "5+8302)9 :)#, #5$;0', #&' #<"/ "# .#"#*"10#"# =!$"+<5>!3

#.'0? 0! "?) #5@$.1 @51*?- ()#, /==+, (@!$ 0!"#"5#&!3 *! .#"#*"10#"#

!*"3#*?, A"#B(5)!,- 0&#5- !*"$#"'5$#C .#$ +5$*0()#- '@$ =3>#- (@+<) .=!3*!$

#)#0()+)"#, "?) #)#B32*? 0(*# #&' 0$# «)(# @51*?»9

•! #$ %&'( )6*: $+%,!%- .%'/0123(- )6%*4 .+5+/)67*4 8$,9,;( )6&*

D"+ !0&+5$.' .()"5+ "?, E!**#=+)3.?, 0!"#FG "2) +4H) I50+G – J2)+, K5#L

>+G0? – I>)#"3#, – M?"5+&9 N!))#4!3+< – O#5'=+< P"?=- *@?0#"3+)"#$ "53#

*<>.5+"10#"# #>+5H) &+< #&+"!=+G) *?0#)"$.'"#"# *?0!3# #)#8+5/, "?,

!0&+5$.1, 21, "?, E!**#=+)3.?, .#$ #&+"!=+G) #)#&'*&#*"# "010#"/ "?,

>$# &+==(, 4!.#!"3!,- ;# =(>#0! >$# #$H)!,9 Q+==(, !)4!3F!$, 0#, &!3;+<) '"$

*"?) 34$# ;(*? <&15@#) #>+5(, #&' "?) !&+@1 "?, "+<5.+.5#"3#,- .#"/ "#

&5'"<&# "2) 0!*#$2)$.H) #)#"+=$.H) .5#"H)9 R &!5$+@1 "?, .<532, S>+L

5/, /5@$! #&' "?) I>)#"3#- &+< 1"#) >)2*"1 .#$ 2, + «T#54G, 45'0+,» .#$(8"#)! 2, "? )'"$# &=!<5/ "?, !..=?*3#, "+< S>3+< M?)/9 S)#"+=$./ !3@!

'5$+ "?) &!5$+@1 #&' "?) Q#)#>3# U#=.(2) 2, "+ =+<"5' "?, S>+5/, A+4',

O+0)?)H) – V#*9 R5#.=!3+<C .#$ 4<"$./ "? =!28'5+ Yali Wapisi AQG=? "?,

Q#5#=3#,C9 D"# *"!)/ 45+0/.$# #<"1, "?, &!5$+@1, *<>.!)"52)'"#) ? 0!L

>#=G"!5? !0&+5$.1 45#*"?5$'"?"# "?, &'=?,9 D"?) .#54$/ "?, 34$#, H)?,

<&15@! ? S=!<5#>+5/ AXn WapaniC- &+< *"# &#=#$'"!5# "+<5.$./ «"!8"(5$#»

#)#8(5!"#$ 2, WapanLi Zalle- "+ O#&/)$- 0$# +)+0#*3# &+< #.'0? 4$#"?5!3L

"#$ .#$ #)#8(5!"#$ #&' "+<, E!**#=+)$.!3, >$# "?) 34$# #>+5/9 S&' "$, #5@(,

'02, "+< [\+< #$H)# 4!) #&+"!=+G*! &$# #>+5/ #=!G52)- #==/ 0$# #>+5/

• ! "# $%# &'!%(, )(!*# +-%# ./0( 1)22+3("#4

The Stoa Modiano building, the city’s main food market4

[+, QI]^QS_`Db SQ` _RP SN^SD D`T^SD OS^ _RP SN^`c KRMR_]^`c



77

! #$%! !&'()* !+(,!-./.: .0120/3 4.+5 /( 601!0/(89,;<= /!>!#!'2>;.

#.; +?@;>. 0#!-3= ,-A; #.; 50+,;.= #,2.* #.; %[email protected];>$B C ;#,? +@./!&.

0/3 203 /3* .D(,$* E@$@3 8,30;(+(;(->/.> F* .D(,$ ;#,9> A9F>= 5+F*

AF>/.>9> .,>;9> #.; #(/5+()@F>B

G!/$ /3> +),#.D;$ /() HIH7 #.; /3 >2. 8$,.J3 /F> (;#('(;#9> /!/,.D9>F>

0/3> &';. +!,;(8? /F> .D(,9> +() )+?,8.>= 0)>/$8%3#! 4K#/91,;( HILM<

N,5D,.. O#+(&303* ;#,9> (;#(+2'F> D;. /3 '3;(),D&. .D(,9> 4+.P

A$,<= 0/;* (+(&!* (; /-+(; /F> #./.0/3$/F>= #./.0#!).0/;#$= (,Q(@(D;#$=

@!;/(),D;#$ ?/.> #.%(,;02>(;= 5,(; (; (+(&(; ;08-()> .#53 #.; 0?!,.B

•!" 40#!+.0/? .D(,$< – Bezesten (7) R( #/&,;(= 2>. .+5 /. 03.>/;#5/!,. (%F.>;#$ >3!&. /3* +5@3*= 1,;0#5P

/.> 0/3> #.,';$ /3* .D(,$*= 1.0;#5 03!&( .>.Q(,$* /3* /(),#(#,./(-!P

>3* S!00.@(>&#3*B C /(),#;#? (>(.0&. +,(2,8!/.; .+5 /3 @2J3 bez +()

03.&>!; -Q.0. 1.1.#!,5 ? @;>5 #.; /. #/&,;. .)/$ ?/.> #./$ #-,;( @5D(

.D(,2* +(@)/!@9> )Q.0$/F>B T0/50( 0/2D.A.> #.; $@@!* .D(,2* +(@-/;F>#.; !)+.%9> !+(,!)$/F>= D;. /( @5D( .)/5 #.; Q,(),(->/.>B R( G+!A!0/2P

>; /3* S!00.@(>&#3* #/&0/3#! /(> HU( .;9>.B C .>2D!,0? /() .+('&'!/.;= ? 0/(

V()@/$>( G!82/ EW #./$ /( HXUU ? @&D( .,D5/!,.= ? 0/( V()@/$>( E.D;.A&/

EW +,(* /. /2@3 /() &';() .;9>.B O&>.; 2>. (,%(D9>;( #/&0. ! !;05'()* 0/(

#2>/,( #$%! +@!),$*= !0F/!,;#$ ';.;,!&/.; 0! 2J; /!/,$DF>.= #.@-+/!/.; '! !

2J; (@)1'(0#2+.0/()* %5@()*= (; (+(&(; .>/;0/(;8(-> 0/3> !0F/!,;#? ';$/.P

J3 /() #/;,&()B R. !JF/!,;#$= +!,;!/,;#$ #./.0/?./. +,(0/2%3#.> 0/;* .,P

82* /() LY() .;9>.B Z./$ /;* .>.0/3@F/;#2* !,D.0&!* +() 2D;>.> 0/( >3!&(

!/$ /( HI7[= .+(#.@-Q%3#.> 0/. (@-1';>. Q-@@. #$@)\3* /F> /,(-@F>

• “!"#$”, %& '(-"%() (*# +.# (/ 20 • .

The Kapani market, in a postcard of the early 20 th century.

• !• "#$%!&' ($ )$#$*$



78

21 !"#$%&"'" &"(')#*+ ,-. /#%$('03"+ ",) '- 1786 4*5 '- 1927: ;" !"<

#$%&"'" ".'$= %#"&&4+" (/ '-.#3>3?= /@@0+>3?= +-'>-(@"A>3? 3"> %"@@>3?

%@B(("= C0@B+-.+ 3"> '>5 /D+>3)'0'/5 '*+ &"(')#*+ ,-. /#%$('03"+ 3"'$

3">#-E5 ('- 3'F#>-: ;4@-5 /F+"> ",) '" /@$!>('" -D*&"+>3$ &+0&/F" '05 ,)@05

,-. C>"'?#0(/ '0+ "#!>3? '-. !#?(0= 4('* 3"> "+ - (0&/#>+)5 /,>(34,'05 C/+

4!/> "3#>AB5 '>5 FC>/5 ,"#"('$(/>5= ?!-.5 3"> &.#*C>45:

Hamza Bey • (!"#$%) (8)

GF+"> %+*(') ('-.5 H/(("@-+>3/F5 *5 I@3"J$#= ",) '- )+-&" '-. 3>+0&"'-<

%#$K-. ,-. ('/%"J)'"+ ('- /(*'/#>3) '-. %>" "#3/'$ !#)+>": L#)3/>'"> %>"

4+" ",) '" (,-.C">)'/#" C/F%&"'" '05 -D*&"+>3?5 "#!>'/3'-+>3?5 ('0 +-'>-<

"+"'-@>3? G.#B,0= '- &/%"@E'/#- 3"> &-+"C>3) ('0+ G@@$C" 'J"&F &/ ,/#F<

('.@0 ".@?: M>" '0+ FC#.(0 3"> '>5 ->3-C-&>345 '-. K$(/>5 ,@0#-K-#-E&"('/

",) (!/'>345 /,>%#"K45= /+'->!>(&4+/5 ('- 3'F#>-: N'F('03/ "#!>3$ *5 mesçid=

C0@"C? (.+->3>"3) '4&/+-5 !*#F5 &>+"#4= '- 1O67P68 ",) '0 Qafsa Qatun=

3)#0 '-. Qamza Rey= &,/0@4#&,/0 '05 I+"'-@F"5: ;- "#!>3) mesçid C>/.<#E+D03/ "#%)'/#" &/ '0+ 3"'"(3/.? CE- -#D-%B+>*+ !B#*+ ('0 A)#/>" 3">

+)'>" ,@/.#$ '05 "#!>3?5 '/'#$,@/.#05 "FD-.("5= '0+ ,#-(D?30 ,/#>&/'#><

3?5 ('/%"(&4+05 ('-$5 ('" C.'>3$ 3"> '0+ 3"'"(3/.? &>+"#4 ('0 +-'>-C.'>3?

%*+F" '-. "#!>3-E 3'>#F-.: S !#)+-5 &/'"'#-,?5 '-. (/ 'J"&F '-,-D/'/F'">=

3"'’ $@@-.5 ,#>+ '- 1O92= -> ,/#>(()'/#-> )&*5 /#/.+0'45 (.&K*+-E+ ,*5 ->

/#%"(F/5 ".'45 4%>+"+ ('- C/E'/#- &>() '-. 16-. ">: T&/'"UE 1V7W<1V92X: Y>"

'#F'0 "+"3"'"(3/.? ('- 3'F#>- 4%>+/ '- 162W ",) '-+ Zapici [ehmed Rey: S

3E#>-5 !B#-5 '-. 'J"&>-E C>"'0#/F'"> (/ 3"@? 3"'$('"(0 &/ '- &[email protected](34<

,"('- '#-E@- '-. 3"> '-+ /(*'/#>3) C>$3-(&- &/ ('"@"3'F'/5 ",) %.\-3-+F"<

&" 3"> &/ '->!-%#"KF/5: ] ('-$ C>"(BJ/> ('-.5 3F-+45 '05 ,"@">-!#>('>"+>3$

3>-+)3#"+"= (/ C/E'/#0 !#?(0: ^?&/#" 4!-.+ "#!F(/> (0&"+'>345 /#%"(F/5"+"('?@*(05 3"> ",-3"'$('"(05 '-. &+0&/F-.:

&##"'* +,-. /"#01, (9)L"@">)'/#-> /#/.+0'45 '"E'>J"+ '0+ L"+"%F" _"@34*+= /33@0(F" '-. 11-. "><

B+"= &/ '0+ L"+"%F" N"&"#>B'>((" ,-. "+"K4#/'"> (/ 4%%#"K- '-. 1O-. ">:

`/+ /F+"> %+*(') '- "3#>A45 A.J"+'>+) )+-&"= "@@$ ,>D"+)'"'" -+-&"J)'"+

L"+"%F" '*+ _"@3-,#"'/F*+= ),*5 3"> 0 "+'F('->!0 ('0+ N*+('"+'>+-E,-@0=

"K-E ",) '0 A.J"+'>+? /,-!? &4!#> 3"> (?&/#"= %E#* ",) '0+ /33@0(F"

.,?#!"+ /#%"('?#>" !"@3*&"'$C*+: ^E&K*+" &/ '0+ 3'0'-#>3? /,>%#"K?=

('- .,4#D.#- '05 C.'>3?5 />()C-.= 0 /33@0(F" 3'F('03/ ",) '- A"(>@>3) ,#*<'-(,"D$#>- _#>(')K-#- '-+ «3"'/,$+*» '05 b"%-.A"#CF"5= '- 1W28: S +")5

,"#-.(>$J/'"> (?&/#" A.D>(&4+-5= *5 ,#-5 '- (0&/#>+) /,F,/C- '05 ,)@05

/U">'F"5 '*+ /,>!B(/*+ ,-. 4!-.+ %F+/>= 3.#F*5 &/'$ '0 &/%$@0 ,.#3"%>$

'-. 1917: S 'E,-5 '-. +"-E /F+"> ('".#-/>C?5 '/'#"3>)+>-5= &/ '#-E@-: S

C>B#-K-5 +$#D03"5 ('/%$J/'"> /,F(05 &/ CE- '#[email protected]: ̂ '- &4(- '-. A)#/>-.

'-F!-. '-. 3/+'#>3-E +"-E (!0&"'FJ/'"> &4(" (/ "#3-()@>- '- '"K>3) &+0&/F-

'-. 3'?'-#"= ,-. /U4!/> ",) '-+ '-F!-= ("+ 4+" -#D-%B+>- 3'F(&": S> /U*'/#><

345 )\/>5 '-. +"-E ,"#-.(>$J-.+ /+C>"K4#-.(" -#%$+*(0: g@0 '0+ ,/#F&/<

'#- '-. +"-E C>"'#4!/> &"#&$#>+-5 3-(&?'05= 3$'* ",) '-+ -,-F-+= ('0 +)<

'>" )\0= (BJ-+'"> ,?@>+/5 /K."@*&4+/5 ,@$3/5 &/ 3-.K>3? C>"3)(&0(0 ,-.

(!0&"'FJ-.+ J*K)#-: S J*%#"K>3)5 C>$3-(&-5 '-. +"-E C/+ (BJ/'"> (/ 3"@?3"'$('"(0= ,"#-.(>$J/> )&*5 >C>"F'/#- /+C>"K4#-+= C>)'> '- &/%"@E'/#- &4#-5

2-5 LGjkLI;S^l ILS ;]o IMkI^ ^SqkI^ NIk ;]o IMkSr `]Y];jkSr



79

!" $%&$'()*%+" ,-")% ./'&($",0 1, 2" -3(4.2 $4 ")$/5 ./1*!") 6)% 1,

1%) 3,/,(2 62$(%68 ,:%'()*8 .$ ;!'()*%6< 3%=6$.1$5 .$ ,.!(=&%$ $4

>(%)1?,4%6$/ <@$4 $4 A,($/ :$4 )")*B(,% $40 -3%$40 68$(,0C D )(&%68

$%&$'(=*2.2 $4 ")$/ )"%:($.!:,/,% 3/$ ,&"$($:-,0 :$4 :($B(&$")%

):< 2" E!".)"%"$/:$F2C

Bey Hamami (• !"#$%&') (10) G$ 1,'=F$ )4< F$4(< 6-.26, $ HIII ):< $ J$4F="$ K$4(= LM5 <:!0

)")*B(,% 2 )()?%68 ,:%'()*8 :="! ):< 2" ,-.$3$ 20 )"3(%680 :B(4')0C

N-")% 3%:F< F$4(<5 1, %3%)-,($40 &+($40 '%) $40 ="3(,0 6)% %0 '4")-6,0

6)% 3%)*$(,%6B0 ,%.<3$40C O &+($0 !" )"3(+" ,-")% 1,')F/,($0 6)% 1,

:F$4.%<,(2 3%)6<.12.2C A3%)-,() ,"3%)*B($"5 1, $($*8 >)41=.%) 3%)P

6$.121B"2 1, .)F)6-,05 ,-")% $ 3%)1B(%.1) $4 K:B2 :$4 ,:%6$%"!",-

1, 2 «>,(18 )->$4.)» !" )"3(+"C G$ F$4(< ?(%.6<)" ., F,%$4('-) B!0

$ H9QRC

*+"," – -./"234 *56 7#$, (11)D 6/(%) $3%68 )(2(-) 20 :<F20 ,"<0 ,%&+"5 2 (!1)S68 Via Tegia5 :,("$/.,

6=! ):< 2 .21,(%"8 $3< N'")-) .$" -3%$ :,(-:$4 =@$")5 ,"+"$")0 %0 3/$

6/(%,0 :/F,0 !" ,%&+"5 2 U(4.8 W/F2 .) 34%6= 6)% 2" E)..)"3(,!%68

W/F2 .) )")$F%6=C J) ?<(,%) )480 20 6/(%)0 $3$/5 .$" =@$") 20 $3$/

X(%.$BF$405 ?(%.6<)" 2 ,-.$3$0 20 Y!1)S680 X'$(=0C Z)" B") 1"21,%P

)6< .4'6(<21) 1, :F),-,0 6)% 321<.%) 6-(%)C J2 "<%) 6%$"$.$%&-) 20

6=! :F),-)0 20 X'$(=0 )"86)" $% [ncantadas5 )'=F1)) :$4 ?(-.6$")%

.81,() .$ \$/?($C J2 ?<(,%) :F,4(= 20 X'$(=0 4:8(&)" 1,'=F) 321<.%)

• !" “#!"$%&'(”, '% )*+!)- *. !/0. 21 &0.3

The Paradise Baths, in a postcard of the early 21 th century3

JGD] A^]OJ _YX`ObKD EXA GD] WXYX\AX



80

•!"#" %& '()*& %& •)"#"& •!+&, - 1983.

Aerial photograph of the area of the ancient Forum, taken in 1983.

!"#$% '() *)+)!,-'./ 1! $23(4'5 Forum 6)(3!$79,.': ;#! #<!= #!" >!"

()/ '() #! ?$9#! #$@#! #!" A!" ()/ 3/B/ C($% #)= 6)%7!$:= '#)$)('<= :?:3+%;:)=

'() ((D<= ?!" "?<;#. '(#% #.E ?(()!G$);#)(E)'- ?:$@!6!H 6)(#-$.;: 2=

'() #!E I! ()/ 3/B/ #. :)#!"$D@( #!" 2= '!)E2E)'5 '<E#$! #.= ?5.=/ J 6:K#:L

$. ?(#:@( ;#. E5#)( ?:"$% #!"H ! M:D(!75$!=H :)#!K$D.;: ;#( +"N(E#)E%

G$5E)( 2= (E!)G#- ?(#:@(H ::K,:$. (?5 ;#!<=/ O(@E:#() :?@;.= 5#) '() #!

P6:@!H ?@;2 (?5 #.E (E(#!)'- ;#!% #.= QD!$%=H ?!" G$.;@3:";: '(#% #.E

:?!G- #2E 6)2D39E #!" R)!'.#)(E!K 2= ($<E( D)( ,.$)!3(G@:= '() 3!E!3(L

G@:=H :S('!!K,.;: E( :)#!"$D:@ 2= #( #<. #!"%G);#!E #!" T!" ()/ 3/B/ B(L

$('#.$);#)'5 ;.3:@! #2E ((D9E #.= QD!$%= ;#( ?(()!G$);#)(E)'% G$5E)(H

:@E() . 3:#(#$!?- #.= E5#)(= .3)"?5D:)(= ;#!%= UcryptoporticusV ;: 3:D%.

6:S(3:E- K6$:";.= #.= ?5.=H '(,9= '() . @6$";.H ;#! (E(#!)'5 #3-3( #.=

@6)(= ;#!%=H :E5= )(3(#)'!K «(D)%;3(#!=»H (?5 5?!" ?$!<$G:#() 3:D%. #!)LG!D$(7@( 3: 6K! 3%$#"$:=/

•!"#$ &$ '()*$ +",(,*- .12/W) (E(;'(7<= ?!" <D)E(E (?5 #. 6:'(:#@( #!" XYY0 ;#! G9$! ("#5 (?!'%L

"Z(E :?%.:= 7%;:)= :"$.3%#2E 6.35;)2E '() )6)2#)'9E '#)$@2EH 52E

#2E );#!$)'9E ?:$)562E #.= ?5.=[ :"$-3(#( (?5 #. $23(4'- ?:$@!6!H ?(L

$:''-;) 3: E:'$!#(7:@! ";#:$!+"N(E#)E9E G$5E2EH '@+(E! "(!"$D@(= 3:

:S()$:#)'5 :E6)(7<$!EH !)');#)'% ;KE!( #.= #!"$'!'$(#@(= '() #2E E:5#:L

$2E G$5E2E/

0-!"#(,3 4)3("5 0)*- .16/C$5':)#() D)( <E( ;G!:@! );#!$)'5H ,:3:)23<E! ;#)= '()E!#53:= :'?()6:"L

>!= C\]^CQ1W_[ QCW 1J` Qa^Q_ _WO^Q_ bQ^ 1J` Qa^Wd RJMJ1]^Wd



82



83

From AGHIAS SOPHIASand AGHIOU DIMITRIOU Streets

to IONOS DRAGOUMI Streetand the SEAFRONT

2nd WALK

Aristotelous Square – axis of Aristotelous Street (1) The main feature of the layout of the city, as conceived in the plans

drawn up by Ernest Hébrard, was the monumental Boulevard of the

Nations or of Aghios Dimitrios, now known as Aristotelous. This was to

connect the square gathering the city’s administrative buildings with

Aristotelous Square down at the waterfront, the latter being dedicated

to commercial and tourist uses, luxury shops, hotels and cafes. Speci-

!cations for the facades of the buildings on Aristotelous Square were

laid down in a special decree of 1923. The architecture of the buildings

and their facades is inspired by European as well as Arab and colonial

models, the fruit of earlier experiences by Hébrard and his French col-leagues, while neo-Byzantine tendencies are also to be seen.

‘Louloudadika’, the Baths of the Great Market (Yahudi Hamami) (2)In the Turkish records, the baths are known under a variety of names:

the Baths of the Great Market (Pazar-i kebir hamami), the Women’s

Baths (Kadinlar hamami) and the Jewish Baths (Yahudi hamami). The

latter, and best-known, name is owed to the location of the baths in an

exclusively Jewish district. According to Evligia Tselemi and the Turkish

archives, the baths were established by a certain Halil A"a, possibly the

individual known to have been a large stable owner and vezir in the mid-

17th century. More recent opinion, based on the typological and morpho-

logical characteristics of the building, would date it earlier, perhaps to

the !rst half of the 16th century. The baths were designed for use by both

sexes and have the typical triple layout (cold, warm and hot baths). The

masonry is of interest in its imitation of the Byzantine cloisonné system,

as is the internal decoration with plaster mortar.

Church of Aghios Minas (3) This is the church around which the city market began to grow, as early

as Byzantine times. During the period of Turkish rule, the Frangoma-

halas district extended to the west of the church. It assumed its currentform in the reconstruction of 1852, but we see from the conch of the



84

chancel, the pulpit and the architectural sculpture that has survived

in the church, as well as that now held in the Museum of Byzantine

Culture in Thessaloniki, that the original church dated from the early

Christian period and was of the basilica type.

The earliest reference to the church dates from the 7th century, but there

are also occasional references in the documents of Athonite monasteries

from the 11th, 12th, 14th and 15th centuries. Following the Turkish occu-

pation of the city, the church remained in the hands of the Christians,

but was exposed to numerous misfortunes, such as the removal of six

columns in 1569, the bombardment by a Venetian warship in 1687, !res

in the 18th and 19th centuries. This is why it is referred to in the Turkish

records as the ‘Burned Monastery’ (Yanik Manastir).

Following the !re in 1839, it was rebuilt in 1852, as a three-aisled, post-

Byzantine basilica, under the supervision of the architect Rallis Pliou-

fos. The ornate interior decoration is in"uenced by the baroque-rococo

of central Europe and neoclassicism. The originality and innovativetendencies of the architecture and interior decoration of Aghios Minas

served as a model for other churches founded in the same period in the

city and in the surrounding region.

Saoul Stoa (4) The planning interventions carried out between 1866 and 1900 in the

historic nucleus of the city, involved the laying out of Sambri Pasha

Avenue (modern Venizelou St.) in 1867. The latter ran from the Konaki

• !"#$" %&'()*!)+, -# ) .'/-")0*"&) 1!2-')/, 3)+ #4&#2#' ) 5#('67!8'/-")9&7:)+ ;#(("!)/$.<

View of Aristotelous Square, with the Olympion Theatre, home to the Thessaloniki Film Festival<

2nd WALK: FROM AGHIAS SOPHIAS AND AGHIOU DIMITRIOU STREETS



86

is a simple rectangular structure with a pediment over the façade and

a glass roof. The complex is traversed by !ve stoes or arcades, along

which are rows of small food shops. A number of these still sell food,

while others have been turned into bars or restaurants, and some have

now closed down – the premises awaiting a new owner or use to revive

them.

Historic market sites (6): Vatikioti-Athonos (6a), Vlali (6b) Bezesteni(6c)Within the commercial centre of the city, between the streets Ermou-

Ionos Dragoumi-Egnatia-M. Yennadeiou-Karolou Diel, there are three

market complexes which have represented indispensable focal points

in the commercial life of the city for many decades, if not centuries.

There is ample evidence to convince us of the presence of markets on

this site since the time of Turkish rule, probably of the kind familiar in

other mediaeval eastern states. The area of the main market began atEgnatia Street, then known as ‘Broad Street’, and extended as far as the

southern side of the Church of Aghios Minas. To the east, it was bound-

ed by the district extending from Panayia Halkeon to the market baths

(Komninon St. – V. Irakleiou St.) and to the west by the avenue known

as Yali Kapsi (Seafront Gate). It was within the narrow streets and alleys

of this quarter that most of the city’s commercial activity took place. At

the heart of the district stood the Flour Market (Un Kapani), which is

mentioned in the older Turkish records as Kapan-i Galle or the Kapani, a

name still used by local people to refer to the market. But from the early

20th

century it ceased to function as a "our market and began to sell allsorts of goods: lime from Asvestohori, tin and earthenware vessels, rice

and pulses, meat and seafood. The little square in the centre of the Vlali

market was occupied by stalls selling pets and other animals like sheep

and chickens.

Following the !re of 1917, and the new layout of street blocks in the

market area, a programme was drawn up in October 1923 to sell off

small lots and create new markets in which rules would be laid down

for the various types of stores and goods to be sold in particular areas.

These rules have remained in effect to the present day.

Bezesten (covered market) (7) This building – one of the most important legacies of Ottoman Thessalo-

niki – was located right at the heart of the market area and represented

a focal point in the life of the city under Turkish rule. Its name is derived

from the Turkish word bez – meaning cotton or linen – and these build-

ings were mainly used as markets for high-quality cloths and fabrics,

although the markets did also house traders in other valuable and per-

ishable goods, and for this reason were often guarded. The Thessaloniki

Bezesten was built in the 15th century, either under Sultan Mehmet II

in 1455, or a little later, under Sultan Bayazit II, towards the end of the

same century. It is a rectangular structure with entrances at the centreof each side, divided internally into six blocks, and covered by six lead-




87

covered domes that correspond to the internal layout of the building. The

stores located around the building were added in the early 20th century.

During the restoration work in 1978, carved inscriptions were found

on the lead sheets of the domes by craftsmen working on the building

between 1786 and 1927. Written in Greek, Turkish, French and south-

ern Slav, they indicate the nationalities of the men who worked on the

building at various times. Finally, it should be noted that this is one of

the very few Ottoman buildings in the city which has retained its original

use, although the modern visitor will probably not enjoy the same wealth

of sound, sight and smell that the market must have once offered.

Hamza Bey mosque (Alcazar) (8) The building is known locally as the Alcazar, because that was the name

of the cinema that was housed inside it for many years. It is one of the

most important examples of Ottoman architecture in all of south-eastern

Europe, the largest mosque with a peristyle courtyard and the only oneof its kind in Greece. Our knowledge of its origins and the various phases

of its construction is derived from inscriptions on the walls of the build-

ing. It was originally constructed as a mesçid or parish mosque without

a minaret in 1467/68 by Hafsa Hatun, daughter of Hamza Bey, Beyler

Bey of Anatolia. The original mesçid was later enlarged with the con-

struction of two rectangular areas on the northern and southern sides

of the original four-sided chamber, the addition of a perimetrical covered

! "#$%&"'( &)*+, -%$.$"'/01 235 *4 &160&478 9$', ': ";)<+*0: &0&"'(=>"( ':4?

The Bezesteni covered market (15 th century), after contemporary restoration.

TO IONOS DRAGOUMI STREET AND THE SEAFRONT



88

stoa to the west and the construction of a minaret at the south-western

corner of the original building. Some scholars date the conversion of the

building to a mosque to the years before 1492, most however agree that

the conversion work took place in the second half of the 16th century (be-

tween 1570 and 1592). A third reconstruction was carried out in 1620,

by Kapici Mehmed Bey. The main part of the mosque has survived in

good condition, with its lead-covered dome and its interior decoration,

featuring stalactites of plaster mortar and wall paintings. The columns

of the portico still have the original capitals, taken from early Christian

buildings. Work has recently begun on consolidating and restoring the

building.

Church of Panayia Halkeon (9)In the past, scholars identi!ed the Panayia Halkeon, a church dating

from the 11th century, with the Panayia Kamariotissa, mentioned in a

document of the 14th century. We do not know the exact Byzantine nameof the church, though it was probably called Panayia ton Halkoprateion,

like its namesake in Constantinople, since from the Byzantine era to the

present day the area around the church has been home to coppersmiths

and their wares. According to the inscription on the lintel of the western

entrance, the church was built by royal Protospatharios Christophoros,

the katepano of the theme of Lagouvardia, in 1028. The church now

stands well below the surrounding street level, as a result of earthworks

that have taken place, in particular in the wake of the great !re of 1917.

In terms of type, the church is cruciform with four columns and a dome.

The two-storey narthex is also covered by two domes. In the middle ofthe north wall of the central church, within an arcosolium, is the funer-

ary monument of the founder, a rectangular structure projecting from

the main wall. The organization of the external wall faces is interesting,

with a marble ornamental strip running all around the exterior of the

building. Beneath it, on the southern face of the church, glazed earth-

enware forming a frieze with cou!c decoration is preserved. The painting

inside the church is in poor condition, but of particular interest in that

most of the wall paintings date from the foundation of the church, as we

learn from a second inscription in the painted decoration, on the intra-

dos of the triumphal arch of the chancel, referring to the same founders.

The original painting of the church features two different techniques,

both originating in Constantinople.

Bey Hamami (Paradise Baths) (10) This large bathhouse was constructed in 1444 by Sultan Murat II, ac-

cording to the Arabic inscription above the entrance to the men’s baths.

The baths were designed for use by both sexes, with separate entrances

and facilities for men and women. The men’s baths are larger and more

opulently decorated. Of particular interest, with a ceiling magni!cently

decorated with stalactites, is the special area reserved for use of the Bey

himself, which communicates with the men’s hot bath. The bathhouseremained in use until as recently as 1968.




89

Ancient - Roman Forum, Odeon (11) The main road artery of the city within the walls, the Roman Via Regia,

passed below the level of the modern Egnatia Street, on roughly the same

axis, linking the two main gates in the walls, the Golden Gate to the west

and the Cassandreotiki Gate to the east. To the north of this main road,

along the axis of Aristotelous Street, stood the entrance to the Roman fo-

rum – a monumental complex with squares and public buildings. Along

the northern colonnade of the lower square of the forum, stood the fa-

mous Incantadas, the caryatids now to be found in the Louvre. Along the

northern side of the forum, there were large public baths and the library.

The Roman forum was laid out at the end of the 2nd and !rst third of

the 3rd century AD. Despite various new constructions and changes dur-

ing the early Christian period, it remained the main social centre of the

city until the 7th century. The second square on the southern side, the

Megalophoros, functioned in Byzantine times as an open market without

porticos. It would also appear that the Odeon, behind the eastern porticoof the forum, used during the persecutions of Diocletian as an arena for

gladiatorial and wild animal !ght spectacles, continued to function until

at least the end of the 6th century. Characteristic features of the changes

to the forum in early Christian times were the conversion of the south-

ern, semi-subterranean portico (cryptoporticus) into a large reservoir for

the city’s water supply, and the establishment, in the eastern section of

the same portico, of a healing ‘agiasma’ or holy spring, where a large wall

painting featuring two martyrs was found.

• “Cryptoporticus ”, !" #!$%&'!" (•) * +-."/"* +&•-)*0The “Cryptoporticus”, the southern semi1subterranean portico of the ancient Forum0

TO IONOS DRAGOUMI STREET AND THE SEAFRONT



90

Diikitiriou Square Archaeological Site (12)

The excavations conducted here since the 1990’s have revealed layersof •nds indicating the presence of public and private buildings from all

periods of the city’s history: •nds from Roman times, a chapel with a

cemetery from the late-Byzantine period, a particularly interesting glass-

worker’s furnace, groups of dwellings from the Turkish and the more

recent period.

Experimental School (13)

This is one of the city’s historic schools, established to re!ect the innova-

tive educational views of the pioneering educator Alexandros Delmouzos

and now owned by the Aristotle University of Thessaloniki. Constructionof the school began in 1936, to plans drawn up by architect Dimitris

• !"# $%&'(& )!*&'(+",$-'. &$/ '" 01&(& 02-.,

'. '" &".$%&# '3 &$/ '- )#-4&%-"(*35

Modern Dikastirion Square, in front

of the ancient forum, following itsremodelling by the Municipality of

Thessaloniki5




91

Pikionis (1889-1968), whose work aimed to combine certain key features

of traditional architecture with the imperatives of the modern movementof the inter-war period. Construction of the school was completed in

around 1970.

Tobacco warehouses of the Austro-Hellenic Tobacco Monopoly (14)

The tobacco warehouse complex consisted of two buildings, one on Tsi-

miski Street and one on V. Irakleiou Street, built in 1928 to plans by

architect A. Nikopoulos. The dynamic, linear forms of the facades are a

typical example of art deco. As part of a commercial development of the

site, featuring, shops, of!ces, leisure and parking facilities, the main

structure of the complex was demolished, leaving the two main facadesof the original building as screens before the new development.

2nd walk.pdf

Documents