The Heptapyrgion, also popularly known by its Ottoman Turkish name Yedi Kule, is a Byzantine and Ottoman-era fortress situated on the north-eastern corner of the Acropolis of Thessaloniki in Greece. Despite its name, which in both languages means 'Fortress of Seven Towers', it features ten, and was probably named after the Yedikule Fortress in Constantinople (modern Istanbul, Turkey).
Although the urban core of the city essentially dates from its foundation by Cassander in 316 BC, the walls that defined the medieval and early modern city, and that are still visible today, date to the late Antiquity, when the Roman emperor Theodosius I (r. 379–395) fortified the city anew. The five northern towers of the Heptapyrgion, along with the curtain wall that connects them, forming the northern corner of the acropolis, probably date to this period. Another theory, dating their construction to the 9th century, has also been brought forth.
The southern five towers and wall were built likely in the 12th century, thus forming a fortified redoubt in the interior of the city's citadel. This fortress was then maintained and rebuilt in the Palaiologan period. The nature of the reconstruction and dating of the southern portion of the fort is disputed.
Rather than a new construction, which has been disproved by archaeology, the work of Çavuş Bey may have been limited to the restoration of the bastions over the fort's monumental entrance. In a 1591 account, the fort, referred to as the Iç Kale ('Inner Castle'), serves as the residence of the city's military governor and has a 300-strong garrison. Another inscription, lost today but known from the writings of the 17th-century Ottoman traveller Evliya Çelebi, testified to another restoration in 1646.
During the 1890s, the fortress was converted into a prison. This conversion entailed the removal of all previous 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 the inmates 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 fulfill the various needs of the fort's new role. The interior courtyard was partitioned into five separate enclosures by fences radiating from a central watchtower. Three featured a two-story building housing the cells and a guard post, while the other two held the prison chapel and other annexes. A fourth cell block was situated close to the north-eastern tower, and was destroyed during the Second World War. The exterior buildings, on the fort's southern side, housed the administration, the women's prison and, to the west, the isolation cells.
The prison is well known through its frequent occurrence in the underground rebetiko music. Many songs feature its colloquial name,Yedi Kule. Ιt also acquired notoriety through its use to house political prisoners during the Metaxas Regime, the Axis Occupation of Greece, and in the post-war period from the Greek Civil War up to the Regime of the Colonels.
The prison functioned until 1989, when it was moved outside the city. The site was then taken over by the Ministry of Culture and the regional Byzantine archaeology service, the 9th 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 the damages caused by an earthquake in 1978.References:
The Cloth Hall in Kraków dates to the Renaissance and is one of the city's most recognizable icons. It is the central feature of the main market square in the Kraków Old Town (listed as a UNESCO World Heritage Site since 1978).
The hall was once a major centre of international trade. Traveling merchants met there to discuss business and to barter. During its golden age in the 15th century, the hall was the source of a variety of exotic imports from the east – spices, silk, leather and wax – while Kraków itself exported textiles, lead, and salt from the Wieliczka Salt Mine.
Kraków was Poland's capital city and was among the largest cities in Europe already from before the time of the Renaissance. However, its decline started with the move of the capital to Warsaw in the very end of the 16th century. The city's decline was hastened by wars and politics leading to the Partitions of Poland at the end of the 18th century. By the time of the architectural restoration proposed for the cloth hall in 1870 under Austrian rule, much of the historic city center was decrepit. A change in political and economic fortunes for the Kingdom of Galicia and Lodomeria ushered in a revival due to newly established Legislative Assembly or Sejm of the Land. The successful renovation of the Cloth Hall, based on design by Tomasz Pryliński and supervised by Mayor Mikołaj Zyblikiewicz, Sejm Marshal, was one of the most notable achievements of this period.
The hall has hosted many distinguished guests over the centuries and is still used to entertain monarchs and dignitaries, such as Charles, Prince of Wales and Emperor Akihito of Japan, who was welcomed here in 2002. In the past, balls were held here, most notably after Prince Józef Poniatowski had briefly liberated the city from the Austrians in 1809. Aside from its history and cultural value, the hall still is still used as a center of commerce.
On the upper floor of the hall is the Sukiennice Museum division of the National Museum, Kraków. It holds the largest permanent exhibit of the 19th-century Polish painting and sculpture, in four grand exhibition halls arranged by historical period and the theme extending into an entire artistic epoch. The museum was upgraded in 2010 with new technical equipment, storerooms, service spaces as well as improved thematic layout for the display.
The Gallery of 19th-Century Polish Art was a major cultural venue from the moment it opened on October 7, 1879. It features late Baroque, Rococo, and Classicist 18th-century portraits and battle scenes by Polish and foreign pre-Romantics.