Thessaloniki Upper Town Walking Tour (Self Guided), Thessaloniki
Thessaloniki’s Upper Town, known locally as Ano Poli, which literally translates as “Upper City” is the city’s oldest continuously inhabited district and the only area to survive the Great Fire of 1917 largely intact. While the lower city was rebuilt along modern, planned lines in the early 20th century, Ano Poli retained its Byzantine street layout, Ottoman-era houses, and defensive structures.
From the late Roman and early Byzantine periods, the Upper Town functioned as Thessaloniki’s primary defensive zone. The Byzantine Walls of Thessaloniki encircled the hilltop and connected directly to the Heptapyrgion Fortress, forming the city’s last line of defense during sieges. These fortifications were reinforced and expanded over centuries, reflecting Thessaloniki’s role as the second most important city of the Byzantine Empire after Constantinople. Even today, the walls define its physical and visual character.
After the Ottoman capture of Thessaloniki in 1430, the Upper Town became a predominantly Muslim residential quarter, home to officials, soldiers, and administrators. New mosques, baths, and houses were introduced, often layered directly onto earlier Byzantine structures. Unlike the bustling commercial districts below, Ano Poli developed a quieter, inward-looking character that helped preserve its architectural fabric.
Walking through Ano Poli today is a gradual journey through these historical layers. Along the walls, the Trigoniou Tower offers wide views across the city and the Thermaic Gulf, while nearby sections such as the Main Gate reveal how citizens once moved between the fortified interior and the lower city. Within the neighborhood, early Christian monuments like the Church of Hosios David preserve rare mosaics from Late Antiquity, while the Byzantine Bath stands as the city’s only surviving Byzantine bathhouse, offering insight into everyday urban life rather than imperial ceremony.
Later layers appear just as clearly. The Atatürk Museum reflects Thessaloniki’s late Ottoman past and its connections beyond Greece, while the richly decorated Church of Saint Catherine showcases refined Palaiologan architecture and painting from the city’s final Byzantine centuries.
Together, these landmarks make the Upper Town less a single monument than a living historical landscape. Walking here means moving through fortifications, monasteries, houses, and viewpoints that reveal Thessaloniki not as a single-period city, but as a place shaped by defense, faith, daily life, and long continuity.
From the late Roman and early Byzantine periods, the Upper Town functioned as Thessaloniki’s primary defensive zone. The Byzantine Walls of Thessaloniki encircled the hilltop and connected directly to the Heptapyrgion Fortress, forming the city’s last line of defense during sieges. These fortifications were reinforced and expanded over centuries, reflecting Thessaloniki’s role as the second most important city of the Byzantine Empire after Constantinople. Even today, the walls define its physical and visual character.
After the Ottoman capture of Thessaloniki in 1430, the Upper Town became a predominantly Muslim residential quarter, home to officials, soldiers, and administrators. New mosques, baths, and houses were introduced, often layered directly onto earlier Byzantine structures. Unlike the bustling commercial districts below, Ano Poli developed a quieter, inward-looking character that helped preserve its architectural fabric.
Walking through Ano Poli today is a gradual journey through these historical layers. Along the walls, the Trigoniou Tower offers wide views across the city and the Thermaic Gulf, while nearby sections such as the Main Gate reveal how citizens once moved between the fortified interior and the lower city. Within the neighborhood, early Christian monuments like the Church of Hosios David preserve rare mosaics from Late Antiquity, while the Byzantine Bath stands as the city’s only surviving Byzantine bathhouse, offering insight into everyday urban life rather than imperial ceremony.
Later layers appear just as clearly. The Atatürk Museum reflects Thessaloniki’s late Ottoman past and its connections beyond Greece, while the richly decorated Church of Saint Catherine showcases refined Palaiologan architecture and painting from the city’s final Byzantine centuries.
Together, these landmarks make the Upper Town less a single monument than a living historical landscape. Walking here means moving through fortifications, monasteries, houses, and viewpoints that reveal Thessaloniki not as a single-period city, but as a place shaped by defense, faith, daily life, and long continuity.
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Thessaloniki Upper Town Walking Tour Map
Guide Name: Thessaloniki Upper Town Walking Tour
Guide Location: Greece » Thessaloniki (See other walking tours in Thessaloniki)
Guide Type: Self-guided Walking Tour (Sightseeing)
# of Attractions: 11
Tour Duration: 2 Hour(s)
Travel Distance: 4.0 Km or 2.5 Miles
Author: vickyc
Sight(s) Featured in This Guide:
Guide Location: Greece » Thessaloniki (See other walking tours in Thessaloniki)
Guide Type: Self-guided Walking Tour (Sightseeing)
# of Attractions: 11
Tour Duration: 2 Hour(s)
Travel Distance: 4.0 Km or 2.5 Miles
Author: vickyc
Sight(s) Featured in This Guide:
- Heptapyrgion Fortress
- Portara (Main Gate) and Byzantine Walls of Thessaloniki
- Trigoniou Tower
- Vlatadon Monastery
- Church of Hosios David
- Byzantine Bath
- Church of Saint Nicholas Orphanos
- Atatürk Museum
- Alaca Imaret Mosque
- Church of Prophet Elias
- Ayia Katerini (Church of Saint Catherine)
1) Heptapyrgion Fortress
The Heptapyrgion Fortress, also known by its Ottoman name Yedi Kule, meaning “Fortress of Seven Towers”, is a complex that actually includes ten towers, constructed in multiple phases over several centuries.
The northern section of the fortress incorporates earlier defensive elements, likely connected to Thessaloniki’s Late Roman fortifications of the 4th century, with substantial rebuilding during the Middle Byzantine period, particularly in the 9th century. The southern enclosure, including several of the towers that define the fortress’s present form, was probably added in the 12th century, when the city’s defenses were reinforced during a period of renewed military pressure.
After the Ottoman capture of Thessaloniki in 1430, the fortress was further modified and became an important administrative and military center. Under Ottoman rule, Heptapyrgion functioned as the seat of the military governor and remained a key stronghold overlooking the city and the Thermaic Gulf.
From the late 19th century, the fortress was converted into a prison, a role it retained well into the 20th century. It housed common criminals as well as political prisoners, particularly during periods of political repression, including the Second World War and the Greek Civil War. The prison was officially closed and relocated in 1989, ending one of the darkest chapters in the site’s history.
Following the prison’s closure, the Greek Ministry of Culture assumed responsibility for the complex and initiated restoration and conservation work. Today, visitors can walk through the fortress grounds, explore its towers and courtyards, and take in wide panoramic views over Thessaloniki.
The northern section of the fortress incorporates earlier defensive elements, likely connected to Thessaloniki’s Late Roman fortifications of the 4th century, with substantial rebuilding during the Middle Byzantine period, particularly in the 9th century. The southern enclosure, including several of the towers that define the fortress’s present form, was probably added in the 12th century, when the city’s defenses were reinforced during a period of renewed military pressure.
After the Ottoman capture of Thessaloniki in 1430, the fortress was further modified and became an important administrative and military center. Under Ottoman rule, Heptapyrgion functioned as the seat of the military governor and remained a key stronghold overlooking the city and the Thermaic Gulf.
From the late 19th century, the fortress was converted into a prison, a role it retained well into the 20th century. It housed common criminals as well as political prisoners, particularly during periods of political repression, including the Second World War and the Greek Civil War. The prison was officially closed and relocated in 1989, ending one of the darkest chapters in the site’s history.
Following the prison’s closure, the Greek Ministry of Culture assumed responsibility for the complex and initiated restoration and conservation work. Today, visitors can walk through the fortress grounds, explore its towers and courtyards, and take in wide panoramic views over Thessaloniki.
2) Portara (Main Gate) and Byzantine Walls of Thessaloniki
The Walls of Thessaloniki once encircled the entire city, forming a continuous defensive ring from Late Antiquity through the Ottoman period. Large sections, especially along the seafront, were dismantled between the 1860s and 1874 during Ottoman-era redevelopment aimed at opening the city toward the sea.
The surviving walls date mainly to the late 4th century, when Thessaloniki’s fortifications were extensively rebuilt in the early Byzantine period, incorporating earlier Roman defenses from the late 3rd century. They follow a typical Late Roman construction technique, with alternating courses of stone and brick designed for strength and resilience.
Today, about 2.5 miles of the walls remain, roughly half of their original length. In places, they rise 33–39 feet high and reach widths of up to 15 feet. On the northeastern side, the walls climb the slopes of the Upper Town and connect with the Acropolis and the Heptapyrgion Fortress, forming the city’s most heavily fortified zone.
Throughout the Byzantine period, the walls were repeatedly repaired and reinforced, particularly in the 14th century. The fortification system included multiple gates and posterns, the most prominent surviving example being the Main Gate, recognizable today by its layered brickwork reflecting successive phases of repair. The circuit was also punctuated by numerous towers, several of which still survive.
The Walls of Thessaloniki are included in the UNESCO World Heritage List as part of the Paleochristian and Byzantine Monuments of Thessaloniki, recognizing their role in the city’s long and continuous defensive history.
The surviving walls date mainly to the late 4th century, when Thessaloniki’s fortifications were extensively rebuilt in the early Byzantine period, incorporating earlier Roman defenses from the late 3rd century. They follow a typical Late Roman construction technique, with alternating courses of stone and brick designed for strength and resilience.
Today, about 2.5 miles of the walls remain, roughly half of their original length. In places, they rise 33–39 feet high and reach widths of up to 15 feet. On the northeastern side, the walls climb the slopes of the Upper Town and connect with the Acropolis and the Heptapyrgion Fortress, forming the city’s most heavily fortified zone.
Throughout the Byzantine period, the walls were repeatedly repaired and reinforced, particularly in the 14th century. The fortification system included multiple gates and posterns, the most prominent surviving example being the Main Gate, recognizable today by its layered brickwork reflecting successive phases of repair. The circuit was also punctuated by numerous towers, several of which still survive.
The Walls of Thessaloniki are included in the UNESCO World Heritage List as part of the Paleochristian and Byzantine Monuments of Thessaloniki, recognizing their role in the city’s long and continuous defensive history.
3) Trigoniou Tower
The Trigonion Tower was constructed during the late Byzantine period, in the late 15th century, and was later adapted by the Ottomans after their capture of Thessaloniki in 1430. Rather than being built after the Ottoman conquest, the structure was reinforced and modified to accommodate artillery, reflecting the transition from medieval siege warfare to gunpowder-based defense.
It forms part of the city’s UNESCO World Heritage List, included within the Paleochristian and Byzantine Monuments of Thessaloniki. The tower occupies a strategically critical point along the northeastern section of the walls, where the defenses turn toward the sea and were historically exposed to heavy attack.
During the Ottoman period, the tower was also known as the Chain Tower or Belted Tower, names derived from a horizontal stone relief encircling its midsection that resembles a belt. It functioned as an artillery platform and armory, guarding both the landward approaches and the coastal zone below. The tower rises to a height of approximately 72 feet and measures about 79 feet in diameter, giving it a powerful, cylindrical profile distinct from earlier square or rectangular towers.
Today, the Trigonion Tower is often referred to as “Thessaloniki’s balcony”. From this vantage point, visitors can look across the Upper Town, the dense historic fabric of the old city, and the Thermaic Gulf beyond. On clear days, the outline of Mount Olympus, about 93 miles away, can be seen on the horizon. The open space around the tower makes it a popular gathering point for both locals and visitors, especially at sunset.
It forms part of the city’s UNESCO World Heritage List, included within the Paleochristian and Byzantine Monuments of Thessaloniki. The tower occupies a strategically critical point along the northeastern section of the walls, where the defenses turn toward the sea and were historically exposed to heavy attack.
During the Ottoman period, the tower was also known as the Chain Tower or Belted Tower, names derived from a horizontal stone relief encircling its midsection that resembles a belt. It functioned as an artillery platform and armory, guarding both the landward approaches and the coastal zone below. The tower rises to a height of approximately 72 feet and measures about 79 feet in diameter, giving it a powerful, cylindrical profile distinct from earlier square or rectangular towers.
Today, the Trigonion Tower is often referred to as “Thessaloniki’s balcony”. From this vantage point, visitors can look across the Upper Town, the dense historic fabric of the old city, and the Thermaic Gulf beyond. On clear days, the outline of Mount Olympus, about 93 miles away, can be seen on the horizon. The open space around the tower makes it a popular gathering point for both locals and visitors, especially at sunset.
4) Vlatadon Monastery
The Vlatadon Monastery is the only surviving Byzantine monastery in Thessaloniki. It was founded in the mid-14th century, during the final decades of the Byzantine Empire, and is included in the UNESCO World Heritage List as part of the Paleochristian and Byzantine Monuments of Thessaloniki. At the time of its foundation, it was dedicated to Christ Pantokrator and was known as the Monastery of the Pantokrator.
The monastery was established in 1351 by the brothers Dorotheos and Markos Vlatadon, prominent figures in the intellectual and ecclesiastical life of late Byzantium. According to long-standing tradition, the site overlooks the area where the Apostle Paul is believed to have preached during his visit to Thessaloniki around AD 50–51.
During the initial Ottoman occupation beginning in 1387, monastic life was disrupted and Ottoman troops were reportedly quartered within the complex. Unlike many major churches, however, the monastery was never permanently converted into a mosque. When Thessaloniki briefly returned to Byzantine control in 1403, Orthodox monastic life resumed, and after the final Ottoman capture in 1430, the monastery continued operating without interruption.
Architecturally, the complex preserves Byzantine structural elements, including arches and semi-columns, while its fragmentary frescoes date mainly to the 14th century. The monastery also houses an important collection of icons, manuscripts, codices, patriarchal seals, and imperial documents.
Restored throughout the 20th century, the Vlatadon Monastery today also accommodates the Patriarchal Institute for Patristic Studies, a major research center dedicated to early Christian and Byzantine theology.
The monastery was established in 1351 by the brothers Dorotheos and Markos Vlatadon, prominent figures in the intellectual and ecclesiastical life of late Byzantium. According to long-standing tradition, the site overlooks the area where the Apostle Paul is believed to have preached during his visit to Thessaloniki around AD 50–51.
During the initial Ottoman occupation beginning in 1387, monastic life was disrupted and Ottoman troops were reportedly quartered within the complex. Unlike many major churches, however, the monastery was never permanently converted into a mosque. When Thessaloniki briefly returned to Byzantine control in 1403, Orthodox monastic life resumed, and after the final Ottoman capture in 1430, the monastery continued operating without interruption.
Architecturally, the complex preserves Byzantine structural elements, including arches and semi-columns, while its fragmentary frescoes date mainly to the 14th century. The monastery also houses an important collection of icons, manuscripts, codices, patriarchal seals, and imperial documents.
Restored throughout the 20th century, the Vlatadon Monastery today also accommodates the Patriarchal Institute for Patristic Studies, a major research center dedicated to early Christian and Byzantine theology.
5) Church of Hosios David
The Church of Hosios David dates to the late 5th or early 6th century and originally formed part of the Latomos Monastery, an important Byzantine monastic complex. As you step inside, the church’s compact, inward-focused plan becomes immediately clear. The space follows a cross-in-square layout, with square bays occupying the corners and drawing your attention toward the eastern end, where the sanctuary is located.
Move toward the apse at the eastern side of the church and look upward. Here you’ll find the building’s apse mosaic, often described as a Theophany or Christophany. Christ appears as a youthful, beardless figure seated on a rainbow, holding an open scroll. Around Him are symbolic elements linked to the Evangelists and visionary imagery drawn from the Old Testament. Unlike later Byzantine mosaics, this composition is not strictly narrative but symbolic, and its survival from the late 5th century makes it unique in Byzantine art.
As you turn back toward the side walls and upper surfaces, you’ll notice later layers of decoration. These frescoes, dating mainly from the 12th and 13th centuries, reflect subsequent phases of worship. Look for scenes depicting the Nativity, the Baptism of Christ, and Christ’s Entry into Jerusalem, as well as representations of the Virgin associated with the Passion.
While moving through the church, signs of damage are also visible. Earthquakes, later structural changes, and the plastering-over of images during the Ottoman period all took their toll. During Ottoman rule, the building was converted into a mosque known as Suleiman Tzami. If you step outside afterward, you can still spot the base and spiral staircase of the former minaret, the only remaining traces of that phase. The church was reconsecrated for Orthodox worship in 1921, and today it forms part of the UNESCO-listed Paleochristian and Byzantine Monuments of Thessaloniki.
Move toward the apse at the eastern side of the church and look upward. Here you’ll find the building’s apse mosaic, often described as a Theophany or Christophany. Christ appears as a youthful, beardless figure seated on a rainbow, holding an open scroll. Around Him are symbolic elements linked to the Evangelists and visionary imagery drawn from the Old Testament. Unlike later Byzantine mosaics, this composition is not strictly narrative but symbolic, and its survival from the late 5th century makes it unique in Byzantine art.
As you turn back toward the side walls and upper surfaces, you’ll notice later layers of decoration. These frescoes, dating mainly from the 12th and 13th centuries, reflect subsequent phases of worship. Look for scenes depicting the Nativity, the Baptism of Christ, and Christ’s Entry into Jerusalem, as well as representations of the Virgin associated with the Passion.
While moving through the church, signs of damage are also visible. Earthquakes, later structural changes, and the plastering-over of images during the Ottoman period all took their toll. During Ottoman rule, the building was converted into a mosque known as Suleiman Tzami. If you step outside afterward, you can still spot the base and spiral staircase of the former minaret, the only remaining traces of that phase. The church was reconsecrated for Orthodox worship in 1921, and today it forms part of the UNESCO-listed Paleochristian and Byzantine Monuments of Thessaloniki.
6) Byzantine Bath
The Byzantine Bath is the only surviving Byzantine bathhouse in Thessaloniki and one of the best-preserved examples in Greece. Built in the late 12th or early 13th century, it remained in continuous use until 1940, an unusually long lifespan that ended during the upheavals of the Second World War. Initially thought to have belonged to a monastic complex, it became known in the Ottoman period as Kule Hammam, the “Bath of the Citadel.”
The bath follows late Roman bathing traditions adapted for Byzantine use, and its layout remains easy to follow. Entry from the south leads into the former frigidarium, once used for changing and cooling. From here, you pass into two tepidaria, or warm rooms, distinguished by their vaulted ceilings. Beyond them lie two caldaria, the hot rooms, where traces of the hypocaust heating system are still visible beneath the floors. To the north, the outline of the cistern can be traced; it was heated from below and supplied warm water to the complex.
Over centuries, the bathhouse was modified to suit changing needs. In the Byzantine period, it was likely used by both men and women at different times, while under Ottoman rule it was reorganized for gender-segregated bathing by reallocating existing spaces.
After closing in 1940, the bath fell into disrepair and suffered further damage during the 1978 earthquakes. Included in 1988 in the UNESCO World Heritage List as part of the Paleochristian and Byzantine Monuments of Thessaloniki, it was fully restored and reopened in 2015. Today, it serves as a museum and cultural venue, offering a rare glimpse into everyday Byzantine urban life.
The bath follows late Roman bathing traditions adapted for Byzantine use, and its layout remains easy to follow. Entry from the south leads into the former frigidarium, once used for changing and cooling. From here, you pass into two tepidaria, or warm rooms, distinguished by their vaulted ceilings. Beyond them lie two caldaria, the hot rooms, where traces of the hypocaust heating system are still visible beneath the floors. To the north, the outline of the cistern can be traced; it was heated from below and supplied warm water to the complex.
Over centuries, the bathhouse was modified to suit changing needs. In the Byzantine period, it was likely used by both men and women at different times, while under Ottoman rule it was reorganized for gender-segregated bathing by reallocating existing spaces.
After closing in 1940, the bath fell into disrepair and suffered further damage during the 1978 earthquakes. Included in 1988 in the UNESCO World Heritage List as part of the Paleochristian and Byzantine Monuments of Thessaloniki, it was fully restored and reopened in 2015. Today, it serves as a museum and cultural venue, offering a rare glimpse into everyday Byzantine urban life.
7) Church of Saint Nicholas Orphanos
The Church of Saint Nicholas Orphanos was built in the early 14th century and originally formed part of a small monastic complex. It reflects the final flourishing of Byzantine art and architecture in Thessaloniki before the city’s Ottoman conquest. Unlike many of the city’s larger churches, Saint Nicholas Orphanos was never converted into a mosque during the Ottoman period.
The church is traditionally associated with the Serbian king Stefan Uroš II Milutin, one of the most active patrons of Byzantine churches in the region. As you move inside, this connection becomes visible in the iconography. Look along the upper sections of the walls for figures linked to Serbian ecclesiastical tradition, including Saint George Gorgos, Milutin’s personal patron saint, and Clement of Ohrid, a revered figure frequently depicted in churches connected with Serbian patronage.
Once inside, notice the original marble templon separating the nave from the sanctuary. From here, lift your gaze to the walls and vaults above. The fresco cycle unfolds in horizontal bands, guiding the eye from narrative scenes to rows of individual saints.
Along the side walls, follow the sequence of frescoes illustrating Christ’s life and miracles, including healing scenes and episodes of teaching. As you move closer to the sanctuary, the imagery becomes more solemn, transitioning into scenes associated with Saint
Nicholas, the church’s patron saint.
Throughout the interior, observe the stylistic qualities of the Palaiologan period: softly modeled faces, expressive gestures, and carefully balanced compositions. The painters used the church’s intimate scale to their advantage, creating an immersive environment where architecture and painting work closely together. Because so little was lost to later alteration, Saint Nicholas Orphanos offers one of the most complete and intimate fresco experiences in Thessaloniki.
The church is traditionally associated with the Serbian king Stefan Uroš II Milutin, one of the most active patrons of Byzantine churches in the region. As you move inside, this connection becomes visible in the iconography. Look along the upper sections of the walls for figures linked to Serbian ecclesiastical tradition, including Saint George Gorgos, Milutin’s personal patron saint, and Clement of Ohrid, a revered figure frequently depicted in churches connected with Serbian patronage.
Once inside, notice the original marble templon separating the nave from the sanctuary. From here, lift your gaze to the walls and vaults above. The fresco cycle unfolds in horizontal bands, guiding the eye from narrative scenes to rows of individual saints.
Along the side walls, follow the sequence of frescoes illustrating Christ’s life and miracles, including healing scenes and episodes of teaching. As you move closer to the sanctuary, the imagery becomes more solemn, transitioning into scenes associated with Saint
Nicholas, the church’s patron saint.
Throughout the interior, observe the stylistic qualities of the Palaiologan period: softly modeled faces, expressive gestures, and carefully balanced compositions. The painters used the church’s intimate scale to their advantage, creating an immersive environment where architecture and painting work closely together. Because so little was lost to later alteration, Saint Nicholas Orphanos offers one of the most complete and intimate fresco experiences in Thessaloniki.
8) Atatürk Museum
The Atatürk Museum marks the birthplace of Mustafa Kemal Atatürk, the founder of modern Turkey, who was born here in 1881. The building itself is a three-story residence with an inner courtyard, constructed before 1870, reflecting the domestic architecture of late Ottoman Thessaloniki. In 1935, the Thessaloniki City Council transferred ownership of the house to the Turkish state, which converted it into a museum dedicated to Atatürk’s early life and legacy. The building underwent a major restoration in 1981, when it was repainted in its original pink color.
Visitors enter a carefully arranged interior that recreates the atmosphere of a late 19th-century household. On the first floor, rooms include a reception area, sitting room, kitchen, and a room traditionally identified as Atatürk’s mother’s bedroom. Much of the furniture displayed is original or period-appropriate, helping to convey the domestic setting in which Atatürk spent his early years.
The second floor contains the room where Atatürk was born, preserved as the focal point of the museum. Nearby rooms display a selection of personal belongings, including formal clothing, smoking accessories, household utensils, cups, and everyday objects that illustrate both private life and social customs of the era. The walls throughout the museum are lined with photographs and documents tracing Atatürk’s education, military career, and later public life. Outside, the inner courtyard provides a quiet pause in the visit. A pomegranate tree planted by Atatürk’s father still stands here.
Visitors enter a carefully arranged interior that recreates the atmosphere of a late 19th-century household. On the first floor, rooms include a reception area, sitting room, kitchen, and a room traditionally identified as Atatürk’s mother’s bedroom. Much of the furniture displayed is original or period-appropriate, helping to convey the domestic setting in which Atatürk spent his early years.
The second floor contains the room where Atatürk was born, preserved as the focal point of the museum. Nearby rooms display a selection of personal belongings, including formal clothing, smoking accessories, household utensils, cups, and everyday objects that illustrate both private life and social customs of the era. The walls throughout the museum are lined with photographs and documents tracing Atatürk’s education, military career, and later public life. Outside, the inner courtyard provides a quiet pause in the visit. A pomegranate tree planted by Atatürk’s father still stands here.
9) Alaca Imaret Mosque
The Alaca Imaret Mosque is one of Thessaloniki’s earliest surviving Ottoman monuments, founded in February 1484 by İshak Paşa, son of İnegöl. An inscription above the main entrance records its foundation and marks the ceremonial threshold of what was once a major charitable complex.
Before entering, pause at the entrance portico. Its colonnade supports five small domes, a clear signal of early Ottoman design. This portico once welcomed worshipers, students, travelers, and those seeking food from the imaret, or public soup kitchen, which operated alongside spaces for religious instruction.
Inside, stand near the central axis. The building follows an inverted T-plan, typical of early Ottoman architecture. The central domed space ahead was used for prayer, while the side chambers once served teaching, lodging, and communal meals. Look upward: a large arch divides the interior into two square bays, each crowned by a dome, creating a balanced and inward-focused spatial rhythm.
Although the original painted decoration and Qur’anic inscriptions are largely lost, the structure still conveys its intended hierarchy. The name “Alaca Imaret,” meaning “variegated,” refers to the colorful stone decoration that once adorned the minaret. Step outside to find its base, the only surviving remnant after the minaret was dismantled following the city’s incorporation into the Greek state in 1912.
As you circle the exterior, notice variations in masonry from later repairs. After falling into disuse, the building suffered damage, including the collapse of part of the portico. Stabilization began in 1970, followed by major restoration between 1993 and 1996.
Today, the Alaca Imaret functions as an exhibition and cultural space, allowing visitors to experience its architecture directly, free from later furnishings or religious fittings.
Before entering, pause at the entrance portico. Its colonnade supports five small domes, a clear signal of early Ottoman design. This portico once welcomed worshipers, students, travelers, and those seeking food from the imaret, or public soup kitchen, which operated alongside spaces for religious instruction.
Inside, stand near the central axis. The building follows an inverted T-plan, typical of early Ottoman architecture. The central domed space ahead was used for prayer, while the side chambers once served teaching, lodging, and communal meals. Look upward: a large arch divides the interior into two square bays, each crowned by a dome, creating a balanced and inward-focused spatial rhythm.
Although the original painted decoration and Qur’anic inscriptions are largely lost, the structure still conveys its intended hierarchy. The name “Alaca Imaret,” meaning “variegated,” refers to the colorful stone decoration that once adorned the minaret. Step outside to find its base, the only surviving remnant after the minaret was dismantled following the city’s incorporation into the Greek state in 1912.
As you circle the exterior, notice variations in masonry from later repairs. After falling into disuse, the building suffered damage, including the collapse of part of the portico. Stabilization began in 1970, followed by major restoration between 1993 and 1996.
Today, the Alaca Imaret functions as an exhibition and cultural space, allowing visitors to experience its architecture directly, free from later furnishings or religious fittings.
10) Church of Prophet Elias
The Church of Prophet Elijah is one of the city’s most important late Byzantine monuments and forms part of the UNESCO World Heritage List as a member of the Paleochristian and Byzantine Monuments of Thessaloniki. The church dates to the 14th century, during the Palaiologan period, the final phase of Byzantine architectural and artistic development.
During the Ottoman period, it was known as the Saraylı Mosque, a name likely derived from its association with a nearby palatial or administrative complex. The modern dedication to the Prophet Elijah appears to stem from a later misinterpretation of this Ottoman name rather than from any original Christian dedication.
Historical evidence indicates that the church was converted into a mosque shortly after the Ottoman capture of Thessaloniki in 1430. During this phase, the building underwent alterations consistent with Islamic worship, though much of its original structure remained intact.
Architecturally, the Church of Prophet Elijah is a distinctive example of the “Athonite type”, a variation of the cross-in-square plan characterized by side apses and an emphasis on vertical space. The exterior masonry, marked by alternating courses of brick and light-colored ashlar stone, reflects strong Constantinopolitan influence.
Inside, the church preserves fragments of original wall paintings dating to the late Palaiologan period. Although incomplete, these frescoes are considered important examples of late Byzantine art and are thought to have influenced later painting traditions in regions such as medieval Serbia. The church’s interior design also makes careful use of natural light, with window placement enhancing the spiritual atmosphere.
During the Ottoman period, it was known as the Saraylı Mosque, a name likely derived from its association with a nearby palatial or administrative complex. The modern dedication to the Prophet Elijah appears to stem from a later misinterpretation of this Ottoman name rather than from any original Christian dedication.
Historical evidence indicates that the church was converted into a mosque shortly after the Ottoman capture of Thessaloniki in 1430. During this phase, the building underwent alterations consistent with Islamic worship, though much of its original structure remained intact.
Architecturally, the Church of Prophet Elijah is a distinctive example of the “Athonite type”, a variation of the cross-in-square plan characterized by side apses and an emphasis on vertical space. The exterior masonry, marked by alternating courses of brick and light-colored ashlar stone, reflects strong Constantinopolitan influence.
Inside, the church preserves fragments of original wall paintings dating to the late Palaiologan period. Although incomplete, these frescoes are considered important examples of late Byzantine art and are thought to have influenced later painting traditions in regions such as medieval Serbia. The church’s interior design also makes careful use of natural light, with window placement enhancing the spiritual atmosphere.
11) Ayia Katerini (Church of Saint Catherine)
The Church of Saint Catherine is a significant monument of late Byzantine Thessaloniki, dating to the late 13th or early 14th century during the Palaiologan period. After the Ottoman capture of the city in 1430, it was converted into a mosque, and its Christian imagery was covered with plaster. The building returned to Christian use in 1912, and restoration work between 1947 and 1951 revealed important fragments of its original 14th-century frescoes.
As you enter, stand near the center of the nave and look upward. The church’s decoration was organized vertically, guiding the eye from the earthly to the celestial. Although only fragments survive, this hierarchy is still easy to follow.
Begin at the lower wall zones, where you can see figures of bishops and saints, originally positioned at eye level to establish a direct visual relationship with worshipers. As your gaze rises toward the upper walls and arches, look for fragments of apostles, prophets, and angels, arranged in orderly bands that lead the eye toward the dome.
Near the eastern end, close to the sanctuary, watch for traces of narrative scenes from Christ’s life and miracles. Though incomplete, details such as expressive faces, flowing garments, and balanced compositions reflect the refined style of late Palaiologan painting.
As you move around the interior, notice how the frescoes are adapted to arches and curved surfaces, creating a close dialogue between architecture and image. Despite their fragmentary state, these paintings offer a rare and rewarding glimpse into the artistic and devotional world of late Byzantine Thessaloniki.
As you enter, stand near the center of the nave and look upward. The church’s decoration was organized vertically, guiding the eye from the earthly to the celestial. Although only fragments survive, this hierarchy is still easy to follow.
Begin at the lower wall zones, where you can see figures of bishops and saints, originally positioned at eye level to establish a direct visual relationship with worshipers. As your gaze rises toward the upper walls and arches, look for fragments of apostles, prophets, and angels, arranged in orderly bands that lead the eye toward the dome.
Near the eastern end, close to the sanctuary, watch for traces of narrative scenes from Christ’s life and miracles. Though incomplete, details such as expressive faces, flowing garments, and balanced compositions reflect the refined style of late Palaiologan painting.
As you move around the interior, notice how the frescoes are adapted to arches and curved surfaces, creating a close dialogue between architecture and image. Despite their fragmentary state, these paintings offer a rare and rewarding glimpse into the artistic and devotional world of late Byzantine Thessaloniki.
Walking Tours in Thessaloniki, Greece
Create Your Own Walk in Thessaloniki
Creating your own self-guided walk in Thessaloniki is easy and fun. Choose the city attractions that you want to see and a walk route map will be created just for you. You can even set your hotel as the start point of the walk.
Thessaloniki Introduction Walking Tour
Thessaloniki has been shaped by layers of empire, trade, and migration for more than two millennia. It was founded in 315 BCE by Cassander, king of Macedon, who merged several smaller settlements around the Thermaic Gulf into a single city. He named it after his wife, Thessalonike, the half-sister of Alexander the Great. The name Thessalonikē combines Thessaloi and nikē, meaning victory,... view more
Tour Duration: 2 Hour(s)
Travel Distance: 3.7 Km or 2.3 Miles
Tour Duration: 2 Hour(s)
Travel Distance: 3.7 Km or 2.3 Miles
Thessaloniki Waterfront Tour
The Mediterranean has always been an integral part of Thessaloniki’s appeal. The city's orientation toward the sea is largely due to the vision of Ernest Hébrard, the French urban planner and architect, who redesigned the downtown area after the devastating fire of 1917.
To really get the taste of Thessaloniki you need to visit not just its historical landmarks, but also those spots... view more
Tour Duration: 1 Hour(s)
Travel Distance: 2.6 Km or 1.6 Miles
To really get the taste of Thessaloniki you need to visit not just its historical landmarks, but also those spots... view more
Tour Duration: 1 Hour(s)
Travel Distance: 2.6 Km or 1.6 Miles
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