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The Arch of Galerius(Gr.:) (or Kamara,Gr.:) and

the Rotunda() are neighboring early 4th-century monuments in the city

ofThessaloniki,in the region ofCentral Macedoniain northernGreece.The Rotunda is

also known as the Church of Agios Georgiosor (in English) theRotundaofSt.

George.

History[edit]

Rotunda and Arch of Galerius complex reconstruction

The arch in 1930

Close view

The 4th-centuryRoman EmperorGaleriuscommissioned these two structures as

elements of an imperial precinct linked to his Thessaloniki palace.Archeologistshave

found substantial remains of the palace to the southwest.[1]

These three monumental

structures were connected by a road that ran through the arch, which rose above the

major east-west road of the city.

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At the crux of the major axes of the city, the Arch of Galerius emphasized the power of

the emperor and linked the monumental structures with the fabric of 4th-century

Thessaloniki. The arch was composed of a masonry core faced withmarblesculptural

panels celebrating a victory over theSassanid Persians.Less than half of the arch is

preserved.

The Rotunda was a massive circular structure with a masonry core that had anoculuslike

thePantheonin Rome. It has gone through multiple periods of use and modification as a

polytheist temple, a Christian basilica, a Muslim mosque, and again a Christian church

(and archaeological site). A minaret is preserved from its use as a mosque, and ancient

remains are exposed on its southern side.

Location and description of the Arch[edit]

The Arch of Galerius

Arch of Galerius, stands on what is now Egnatia & Dimitrios Gounari Street. The arch

was built in 298 to 299 AD and dedicated in 303 AD to celebrate the victory of

thetetrarchGaleriusover theSassanid Persiansand capture of their capitalCtesiphonin

298.[2]

The structure was an octopylon (eight-pillared gateway) forming a triple arch that

was built of a rubble masonry core faced first with brick and then with marble panels with

sculptural relief. The central arched opening was 9.7 m wide and 12.5 m high, and the

secondary openings on other side were 4.8 m wide and 6.5 m high. The central arch

spanned the portion of theVia Egnatia(primary Roman road from Dyrrhacium

toByzantium)that passed through the city as aDecumanus(east-west major street). A

road connecting the Rotunda (125m northeast) with the Palace complex (235m

southwest) passed through the arch along its long axis.

Only the northwestern three of the eight pillars and parts of themasonrycores of the

arches above survive: i.e., the entire eastern side (4 pillars) and the southernmost one of

the western pillars are lost.[3]

Extensive consolidation with modern brick has been

performed on the exposed masonry cores to protect the monument. The two pillars

flanking the central arched passageway retain their sculptedmarbleslabs, which depict

the wars of Galerius against the Persians in broadly panegyric terms.

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Sculptural program of the Arch[edit]

Galerius (L) attacks Narses (R)

The imperial family at the sacrifice of thanksgiving.

The tetrarchs arrayed in unison with a Victoriaholding a victory wreath to theAugusti.

Understanding of the sculptural program of the arch is limited by the loss of the majority

of the marble panels, but the remains give an impression of the whole. Four vertically

stacked registers of sculpted decoration were carved on each pillar, each separated by

elaborate moldings. A label for theTigris Riverindicates that there were likely labels on

other representations as the builders deemed necessary. Artistic license was taken in the

representations, for instance, the Caesar Galerius is shown in personal combat with the

Sassanid Shah Narses in one of the panels; although they never met in battle.[citation

needed]On the arch a mounted Galerius attacks a similarly mounted Narses with a lance

as an eagle bearing a victory wreath in its talons approaches Galerius. The Caesar sits

securely on his rearing horse, while the Persian king appears nearly unhorsed. Terrified

Persians cower under the hooves of the Caesars horse in the chaos of battle. The panel

expresses the power of the Caesar Galerius.

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The relief of the imperial family conjoined in a sacrifice of thanksgiving owes its distant

prototype to the Augustan reliefs on theAra Pacisin Rome.[citation needed]

Galerius' wife,

Diocletian's daughter Valeria, is shown at his side, helping authenticate his connection to

his predecessor. Here as elsewhere all the faces have been carefully chiselled off,

whether asdamnatio memoriaeor in later cultural intolerance of images.

In another panel, the tetrarchs are all arrayed in the toga as a Victoriaholds a victory

wreath out to the heads of the twoAugusti. A third panel celebrates the unity of

thetetrarchy,with a depiction of the tetrarchs standing together; the depersonalized

manner in which the tetrarchs are portrayed is reminiscent of the schematic statues of

the tetrarchs in porphyry atSt. Mark's Basilicain Venice.[citation needed]

Only Galerius is

dressed in armor, and he makes the offering upon the altar.

What remains of the arch asserts the glory of the tetrarchy and the prominence of

Galerius within that system. The arch celebrates the Roman Empire as part of Galerius

victory over the Sassanid king.[citation needed]

On the right pictured, is Galerius on his horse

in an attack on a Sassanid guard.

Rotunda of Galerius[edit]Location and description of the Rotunda[edit]

Plan

The Rotunda of Galerius is 125m northeast of the Arch of Galerius at 4037'59.77"N,

2257'9.77"E. It is also known (by its consecration and use) as theGreek

OrthodoxChurch ofAgios Georgios,and is informally called the Church of the Rotunda

(or simply The Rotunda). The cylindrical structure was built in 306 AD on the orders of

the tetrarchGalerius,who was thought to have intended it to be hismausoleum.It was

more likely intended as a temple; it is not known to what god it would have been

dedicated.

The Rotunda has a diameter of 24.5 m. Its walls are more than 6 m thick, which is why it

has withstood Thessaloniki's earthquakes. The walls are interrupted by eight rectangular

bays, with the south bay forming the entrance. A flat brick dome, 30 m high at the peak,

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crowns the cylindrical structure. In its original design, the dome of the Rotunda had

anoculus,as does thePantheonin Rome.

Uses of the Rotunda[edit]

The altar view of the Rotunda of Galerius, initially a Mausoleum of Roman Emperor Galerius, later a

Christian church, and then a mosque. It is now the Church of the Rotunda and a UNESCO World

Heritage Site.

View of the interior with remnants of the mosaics.

After Galerius's death in 311, he was buried atGamzigrad(Felix Romuliana)

nearZajecar,Serbia.The Rotunda stood empty until the EmperorConstantine Iordered it

converted into a Christian church in the 4th century. The church was embellished with

very high qualitymosaics.Only fragments have survived of the original decoration, for

example, a band depicting saints with hands raised in prayer, in front of complex

architectural fantasies.

The building was used as a church for over 1,200 years until the city fell to theOttomans.

In 1590 it was converted into amosque,called the Mosque of Suleyman Hortaji Effendi,

and aminaretwas added to the structure. It was used as a mosque until 1912, when the

Greeks captured the city during theBalkan War.Greek Orthodox officials reconsecrated

the structure as a church, and they left the minaret. The structure was damaged during

an earthquake in 1978 but was subsequently restored. As of 2004, the minaret was still

being stabilized with scaffolding. The building is now a historical monument under

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theEphorate of Byzantine Antiquitiesof theGreek Ministry of Culture,although the

Greek Orthodox Church has access to the church for various festivities.

The Rotunda is the oldest of Thessaloniki's churches. Some Greek publications claim it is

the oldest Christian church in the world, although there are competitors for that title. It is

the most important surviving example of a church from the early Christian period of the

Greek-speaking part of the Roman Empire.

The Walls of Thessaloniki

(Greek:) are thecity wallssurrounding the city

ofThessalonikiduring theMiddle Agesand until the late 19th century, when large parts of

the walls, including the entire seaward section, were demolished as part of

theOttomanauthorities' restructuring of Thessaloniki's urban fabric. The city was fortified

from its establishment in the late 4th century BC, but the present walls date from theearlyByzantineperiod, ca. 390, and incorporate parts of an earlier, late 3rd-century wall.

The walls consist of the typical late Roman mixed construction ofashlarmasonry

alternating with bands ofbrick.The northern part of the walls adjoins theacropolisof the

city, which formed a separate fortified enceinte, and within it lies another citadel,

theHeptapyrgion(popularly known by its Ottoman name, Yedi Kule).

Heptapyrgion (Thessaloniki)From Wikipedia, the free encyclopedia

The location of the Heptapyrgion in the old city of Thessaloniki.

The Heptapyrgion(Ancient Greek:), modernEptapyrgio(),also popularly known by itsOttomanTurkishnameYedi Kule( ), isaByzantineand Ottoman-era fortress situated on the north-eastern corner of

theacropolisofThessalonikiinGreece.Despite its name, which in both languages means"Fortress of Seven Towers", it features ten, and was probably named after theYedikuleFortressinConstantinople(modernIstanbul,Turkey). It served as the major redoubt of

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the city's acropolis, as well as the seat of its garrison commander in Ottoman times, untilthe late 19th century. It was then converted to a prison ( ), whichremained open until 1989. References to the infamous Yedi Kule prison abound in theGreekrebetikasongs. Restoration and archaeological work began in the 1970s andcontinues to this day.

View of the Heptapyrgion from the south-east.

The Heptapyrgion is located in the north-eastern corner of the city's acropolis. Although

the urban core of the city essentially dates from its foundation byCassanderin 316 BC,the walls that defined the medieval and early modern city, and that are still visible today,date to thelate Antiquity,when theRoman emperorTheodosius I(r. 379-395) fortifiedthe city anew. The five northern towers of the Heptapyrgion, along with the curtain wallthat connects them, forming the northern corner of the acropolis, probably date to thisperiod. Another theory, dating their construction to the 9th century, has also been broughtforth.

The southern five towers and wall were built likely in the 12th century, thus forming afortified redoubt in the interior of the city's citadel. This fortress was then maintained andrebuilt in thePalaiologan period.The nature of the reconstruction and dating of thesouthern portion of the fort is disputed. There is no reference to this fort in the olderliterary sources, and the later ones are often ambiguous: a kastellion("fortress") is

mentioned in 1208-1209, a castellan with the Tzakonesof the castle" in 1235. At thesame time, the koulas(fromTurkish:kule, "fort") of Thessaloniki, present in thechronicles of the 14th and 15th centuries, could refer to the entire citadel, and not just theHeptapyrgion.

From Byzantine citadel to Ottoman fort

The Ottoman inscription above the gate. Various architecturalspolia,embedded into the masonry as

decorative elements, are also evident.

The principal reliable testimony regarding the fortress is the inscription placed over itsgate, which indicates that it was rebuilt by avu Bey, the city's first Ottoman governor, in

1431, immediately after theOttoman conquestof the city:

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This acropolis was conquered and captured by force, from the hands of the infidels

and theFranks,with the aid of God, by the SultanMurad,son of SultanMehmed,whom God never ceases to give the banner of victory. And about a month later, thistower was rebuilt and founded by avu Bey, king of the emirs and the Great, in the

month ofRamadan,theyear834 (1431 AD).

Rather than a new construction, which has been disproved by archaeology, the work ofavu Bey may have been limited to the restoration of the bastions over the fort'smonumental entrance. In a 1591 account, the fort, referred to as the I Kale("InnerCastle"), serves as the residence of the city's military governor and has a 300-stronggarrison. Another inscription, lost today but known from the writings of the 17th-centuryOttoman travellerEvliya elebi,testified to another restoration in 1646.

An inventory of the arms and munitions contained in the various forts of the city in 1733provides the Turkish names for the ten towers: Fener Kulesi (Lamp Tower), Makasl Kule(Bent Tower), Su Kulesi (Water Tower), Cephane Kulesi (Ammunition Tower), HapishaneKulesi (Prison Tower), Kz Kulesi (Maiden Tower), Zahire Ambar Kulesi (Granary Tower),Hisar Pee (Barbican), Kanl Burgaz (Bloody Tower), and the ingene Tabyalar

(Fortifications of the Gypsies). The latter three were considered as individual forts, unlikethe others, which are classified as simple towers.

In the late 19th century, the fortress fell out of use as a military installation and wasconverted into a prison.

As a prison

Main gates of the Yedi Kule with Ottoman soldiers in front

During the 1890s, the fortress was converted into a prison. The exact date is not knownwith certainty, but the prison is mentioned in an 1899 map of the city, thus providingaterminus ante quemfor the change. This conversion entailed the removal of allprevious buildings in the fort's interior, of which no trace now survives. The fortifications

themselves were only little modified, although their role was effectively reversed:designed to protect its residents from outside dangers, they know served to isolate theinmates from the outside world.

The prison was for long the main penitentiary facility of the city, and housed all convicted,regardless of sex or crime. New buildings were built along both sides of the walls, to fulfilthe various needs of the fort's new role. The interior courtyard was partitioned into fiveseparate enclosures by fences radiating from a central watchtower. Three featured a two-storey building housing the cells and a guard post, while the other two held the prisonchapel and other annexes. A fourth cell block was situated close to the north-easterntower, and was destroyed during theSecond World War.The exterior buildings, on thefort's southern side, housed the administration, the women's prison and, to the west,theisolation cells.

The prison is well-known through its frequent occurrence in theundergroundrebetikogenre, and many songs feature its colloquial name, Yedi Kule. t

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also acquired notoriety through its use to house political prisoners during theMetaxasRegime,theAxis Occupation of Greece,and in the post-war period from theGreek CivilWarup to theRegime of the Colonels.

Restoration

The prison functioned until 1989, when it was moved outside the city. The site was thentaken over by the Ministry of Culture and the regional Byzantine archaeology service, the9th Ephorate of Byzantine and Modern Antiquities, which moved some of its offices there.The ephorate had already been active in the restoration works of 1973 on the north-eastern curtain wall, and then again between 1983 and 1985 in the restoration of thedamages caused by an earthquake in 1978.

The systematic archaeological study and restoration of the Heptapyrgion began in 1990.The first phase ended in 1995, with the completing of aphotogrammetricarchitecturalsurvey and the creation of a digital model of the fortress. Several institutes participate inthe relevant projects: theAristotle University of Thessaloniki,theCornell Universityinthedendrochronologyproject, the Center for Preservation and Heritage ofMount Athos,and themunicipality of Thessaloniki.

The Church of Saint Demetrius, or Hagios Demetrios

(Greek:), is the main sanctuary dedicated toSaint Demetrius,the patron

saint ofThessaloniki(inCentral Macedonia,Greece), dating from a time when it was the

second largest city of theByzantine Empire.It is part of the site Palaeochristian and

Byzantine Monuments of Thessalonikion the list ofWorld Heritage

Sitesby UNESCOsince 1988.

HistoryThe first church on the spot was constructed in the early 4th century AD, replacing

aRoman bath.A century later, a prefect named Leontios replaced the smalloratorywith

a larger, three-aisledbasilica.Repeatedly gutted by fires, the church eventually was

reconstructed as a five-aisled basilica in 629634. This was the surviving form of the

church much as it is today. The most important shrine in the city, it was probably larger

than the local cathedral. The historic location of the latter is now unknown.

The church had an unusual shrine called theciborium,ahexagonal,roofed structure at

one side of the nave. It was made of or covered with silver. The structure had doors and

inside was a couch or bed. Unusually, it did not hold any physical relics of the saint. The

ciborium seems to have been a symbolic tomb. It was rebuilt at least once.[1]

The basilica is famous for six extantmosaicpanels, dated to the period between the

latest reconstruction and the inauguration of theIconoclasticpolicies in 730. These

mosaics, depicting St. Demetrius with officials responsible for the restoration (called the

founders) and with children, represent rare examples of art surviving from theDark

Agethat followedJustinian's death. An inscription below one of the images glorifies

heaven for saving the people of Saloniki from a paganSlavicraid in 612.

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Other magnificent mosaics, recorded as covering the church interior, were lost either

during the four centuries when it functioned as amosque(14931912) or in theGreat

Thessaloniki Fire of 1917that destroyed much of the city. It also destroyed the roof and

upper walls of the church. Black-and-white photographs and goodwatercolourversions

give an idea of the early Byzantine craftsmanship lost during the fire.

Following the Great Fire of 1917, it took decades to restore the

church.Archeologicalexcavations conducted in the 1930s and 1940s revealed

interestingartifactsthat may be seen in a museum situated inside the church'scrypt.The

excavations also uncovered the ruins of aRoman bath,where St. Demetrius was said to

have been held prisoner and executed. A Roman well was also discovered. Scholars

believe this is where soldiers dropped the body of St. Demetrius after his execution. After

restoration, the church was reconsecrated in 1949.

Baptistery outside the church

St Demetrios with children: one of very few Byzantine mosaics that escaped destruction fromthe hands of theiconoclasts

Inside view of church

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Small shrine inside the church containing the remnants of St. Demetrius

The Crypt

Underneath the Church of St Demetrios is the place where St Demetrios, Thessalonikis

patron saint, was martyred.

As the level of the ground gradually rose over the centuries, this area acquired the form

of a crypt. According both to tradition and to archaeological findings, it was an old

bathhouse, in which Demetrios was imprisoned and eventually martyred in ad 303. In the

5th century, when the first Church of St Demetrios was built, the site of his martyrdom

was incorporated into the church and the fountain was converted into a source of holy

water. In the years that followed, the fountain acquired basins, from which the faithful

could collect myron, the sweet-smelling oil produced by the saints relics. The crypt filled

up with earth during the period of Ottoman rule and was not rediscovered until after the

fire of 1917. It has been restored by the Archaeological Service and was converted into

an exhibition space in 1988.

It displays a collection of sculptures, capitals, closure slabs, and vessels from the Church

of St Demetrios. More specifically, in room I there are sculptures from the original 5th-

century church and piers with relief decoration and capitals with four acanthus leaves. In

room II, in the saints chapel, there are inscriptions documenting the history of the church,

together with figural sculptures of the Middle Byzantine period. Room III displays

photographs, plans, and copies of the restoration work done on the church after the fire

of 1917.

In the next room, room IV, there are sculptures from the decoration of the church which

was built after the fire in the 7th century, and the ambo from the original 5th-centurychurch is in room V. Rooms VI and VII, lastly, display sculptures from the decoration of

the church in the Middle Byzantine period (10th century) and sculptures and pottery of

the 13th15th centuries. More specifically, these include the remains of the original

ciborium, which was constructed to house first the saints icon and later his sarcophagus.

The ciborium was hexagonal and made of wood and silver. There are also an arch and

fragments of arches from a Byzantine ciborium over the altar, which latter is ornamented

with crosses in medallions and crosses resting on orbs. An inscription indicates that the

donor of the ciborium was Theodore, Bishop of Thessaloniki in the 13th century.[2]

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Entrance to the crypt

Inside

Fountain

The remains of the original ciborium

Sculptures from the original 5th-century church and piers with relief decoration

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Atatrk Museum (Thessaloniki)The Atatrk Museum(Greek:,Mouso Atatrk,Turkish:Atatrk EviMzesi,Atatrk House Museum) is ahistoric house museuminThessaloniki,CentralMacedonia,Greece.

The house is the birthplace of the founder of modernTurkey,Mustafa Kemal Atatrk,who was born here in 1881.

[2]It is a three-floor house with a courtyard on 24 Apostolou

Pavlou Street, next to the Turkish Consulate. Before the capture ofThessalonikibytheGreek Armyin 1912, it was known as "Koca Kasm Paa district, Islahhanestreet".

[1]It was built before 1870 and in 1935 the Thessaloniki City Council gave it to the

Turkish State, which decided to convert it into a museum dedicated to Mustafa KemalAtatrk.

The building has three floors and a courtyard. It was repaired in 1981 and was repaintedto its original pink. Most of the furniture is authentic. Any missing items were replacedwith furniture from Kemals mausoleum and fromTopkapi PalaceinIstanbul.There arephotographs on all the walls of Kemal at various periods of his life.

There are four rooms on the ground floor, none of them of much interest to visitors. Onthe 1st floor is the reception room, with European sofas, a large console table, and achased brazier; a large sitting-room, with low banquettes around the walls; Kemalsmothers room, with a bed, a banquette, and a trunk; and the kitchen, equipped withcontemporary cooking utensils. The most impressive room on the 2nd floor is the one inwhich Kemal was born, a large room with a banquette, his desk, and a large brazier. Itfaces another room, in which some of Kemals personal effects fromAnkaraaredisplayed. These include formal dress, smoking requisites, cutlery, cups, and other items.All the documents relating to Kemals schooldays have been hung on the walls.Apomegranatetree planted by Kemals father still grows in the courtyard.

[3]

In September 1955 a bomb exploded close to the Turkish consulate, it damaged also theAtatrk Museum. This was the beginning of anti-Greekdemonstrations and violence

inIstanbul,known as theIstanbul Pogrom.Six years later a Turkish court found that thebombing was ordered by the government ofAdnan Menderes,Menderes apologized andoffered compensation.

[4]

In 1981 a replica of the house was built in Ankara.

Museum of Byzantine CultureFrom Wikipedia, the free encyclopedia

The Museum of Byzantine Culture

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Exterior view

[1][2]The Museum of Byzantine Culture(Greek:) is

amuseuminThessaloniki,Central Macedonia,Greece,which opened in 1994.

History[edit]

To design the museum, a nationwide architectural competition was announced in 1977.

The competition was ultimately won by the entry of Kyriakos Krokos. Construction of thebuilding began in March 1989, and was completed in October 1993. Antiquities fromtheByzantine & Christian MuseuminAthenswere transferred in June 1994, some ofthem being displayed in the museum's inaugural exhibition, "Byzantine Treasures ofThessaloniki: The Return Journey". The museum finally opened on 11 September1994.

[3]

Exhibits[edit]

Opening in 1994, the museum currently has three permanent exhibitions. The first, "EarlyChristian Churches", focuses on the design and decoration of churches in early centuriesof Christianity. "Early Christian Cities and Dwellings", presents aspects of economic life,

domestic handicrafts, houses, and food and clothing of early Christians, and finally,"From theElysian Fieldsto the Christian Paradise" focuses on cemeteries of earlyChristians, jewellery, sepulchral architecture and painting, cult customs, and clay andglass objects recovered from excavated graves.

[4]Beginning in 1998, the museum has

run educational programmes for schoolchildren.[4]

Awards[edit]

In 2005, the museum was awarded theCouncil of Europe's Museum Prize

White Tower of Thessaloniki

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The White Tower of Thessaloniki

The White Tower of Thessaloniki(Greek:Lefkos Pyrgos), is amonument and museum on the waterfront of the city ofThessaloniki,capital of theregionof Macedoniain northernGreeceand a symbol ofGreeksovereignty over Macedonia.The present tower replaced an oldByzantinefortification which was mentioned aroundthe 12th century and reconstructed by theOttomansto fortify the city's harbour; itbecame a notorious prison and scene of mass executions during the period of Ottoman

rule. It was substantially remodeled and its exterior was whitewashed after Greecegained control of the city in 1912. It has been adopted as the symbol of the city.

Physical attributes[

The White Tower in 1912, showing the chemisethat surrounded the tower until its demolition in 1917.

The White Tower takes the form of a cylindrical drum 23 m (75 ft) in diameter with aheight of 27 m (89 ft) above ground level, on top of which is a turret 12 m (39 ft) indiameter and 6 m (20 ft) high. Some of theembrasuresin the outer wall of the tower arereached by a spiral ramp; others are accessed from a central room on each of the sixfloors. The turret houses a platform with a diameter of 10 m (33 ft), and the platform atthe top of the main tower in front of the turret is about 5 m (16 ft) wide.

The tower has been altered substantially over the years. Early illustrations show that itwas originally covered by a conical roof, like similar towers in theYedikuleFortressandRumelihisarfortress inIstanbul.Until its demolition in 1917,achemisestood at the foot of the tower, supporting the heavy guns and enclosing anarea at least three times the diameter of the main tower. Octagonal turrets on

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the chemiseandcaponiersat ground level provided flanking fire around the tower. It isunclear whether the chemisewas part of the original scheme for the tower or was a lateraddition.

[1]

History[

View c.1919

The tower, which once guarded the eastern end of the city's sea walls, was for manyyears attributed toVenice,to which the Byzantines ceded Thessaloniki in 1423. It is nowknown definitely that the tower was constructed by the Ottomans some time after thearmy of SultanMurad IIcaptured Thessaloniki in 1430.

[1]Until 1912, an inscription

inOttoman Turkishverse above the door dated the structure toAH942 (15351536).The historianFranz Babingerspeculated that the work was designed by the greatOttoman architectMimar Sinan,who is known to have built fortifications, including asimilar tower at the Albanian portValonain 1537.

[2]The present tower likely replaced an

olderByzantinetower mentioned by the 12th-century archbishopEustathiosduringthesack of 1185.

[3]

View of the area

The Tower was used by the Ottomans successively as a fort, garrison and a prison. In

1826, at the order of the SultanMahmud II,there wasa massacreof therebelliousJanissariesimprisoned there. Owing to the "countless victims of Ottomantorturers and executioners", the tower acquired the name "Tower of Blood" or "RedTower" (Turkish:Kanli Kule), which it kept until the end of the 19th century.

[4]

The Tower was for centuries part of the walls of the old city of Thessaloniki, andseparated the Jewish quarter of the city from the cemeteries of the Muslims andJews.

[4]The city walls were demolished in 1866. When Thessaloniki was annexed from

the Ottoman Empire to the Hellenic State in 1912 during theFirst Balkan War,the towerwas whitewashed as a symbolic gesture of cleansing, and acquired its present name.KingGeorge I of Greecewas assassinated not far from the White Tower in March 1913.

The Tower is now a buff colour but has retained the name White Tower. It now stands onThessaloniki's waterfront boulevard, Nikis (Victory) Street. It houses a museum dedicated

to the history of Thessaloniki and is one of the city's leading tourist attractions. The Tower

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is under the administration of the Ephorate of Byzantine Antiquities of the Greek Ministryof Culture.

White Tower Museum

Close up view

Today, the White Tower houses an exhibition dedicated to the city of Thessaloniki and itshistory throughout various periods, organized by the city'sMuseum of Byzantine Culture.

For the first few months of 2002 it housed Byzantine Hours, an exhibition devoted toordinary life in Byzantine times.

Exhibits on the first floor were part of the thematic unit entitled Professionals in themarket place. To be more precise, there were tools and other objects belonging togoldsmiths, blade-smiths, cobblers, glassmakers and tilers, coins and a model of the cityof Thessaloniki market place. The second floor was devoted to journeys and trade. Soexhibits included objects and texts related to journeys by sea and overland, fairs,spectacles and pilgrimages.

The third floor is focused mainly on the presentation of the Byzantine home and what it

was like inside, the decoration, supper, and the neighbourhood. One floor above thisthere was an exhibition of life at home with garments and footwear, cosmetics, perfumeand jewellery, personal grooming, and even superstitions. The theme of the top floor wasdeath, covering burial and graves, funerary customs, finds from graves, gravestoneinscriptions from cemeteries, even objects and specimens of magic were on display inthe show cases on the top floor of the Tower.

The Tower is open to the public, and visitors have the opportunity to view a map of thecity with monuments and museums, a timeline with events relevant to Thessaloniki,scientific articles of distinguished historians and archaeologists, bibliography etc. Schoolexcursions may be arranged by contacting the Byzantine Museum (tel. (++30) 2310 868570).

[5][6][7]

Banknotes controversy[

Unofficial souvenir banknote from the Republic of Macedonia depicting the White Tower of Thessaloniki

In the early 1990s, the White Tower became the focus of a major controversy betweenGreece and the newly independentRepublic of Macedonia.Unofficial "Makedonka"souvenir banknotes created by nationalist organizations in the Republic of Macedonia

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depicted the White Tower of Thessaloniki,VMRO-DPMNEproposed its adoption.However, the government in Skopje rejected its official use and adopted a differentdesign for the newMacedonian denar,which was issued in 1992.

[8]

IMPRES, nonetheless, printed unofficial banknotes depicting the White Tower,[9][10]

whichwere sold as souvenirs on the streets ofSkopje,