Church of Prophet Elijah

Thessaloniki, Greece

The Church of Prophet Elijah is a 14th-century church in Thessaloniki, and a UNESCO World Heritage Site.

The church is located in the upper quarter of the old city, and dates to the Palaiologan period, but its original dedication is unknown. In Ottoman times, it was known as the Saraylı Mosque (Palace Mosque or Court Mosque), and through a misinterpretation of this name came about its modern dedication to the Prophet Elijah. It has been traditionally identified as the katholikon of the Nea Moni monastery, built ca. 1360–1370 on the site of a former palace destroyed in 1342 by the Zealot uprising. Modern research, however, has cast doubt on this, since the Nea Moni continued to operate well into the Ottoman period, while the church of Prophet Elijah was converted into a mosque by Badrah Mustafa Pasha immediately after the city's capture in 1430. On the basis of its internal decoration, it has been suggested that the church was the katholikon of the important Akapniou Monastery.

Its architectural style, a variant of cross-in-square church known as the 'Athonite type', is unique in the city, and was always reserved for katholika of monasteries. The careful masonry, of alternating courses of bricks and white ashlar, is also unusual for Thessaloniki and its region; it is copied from Constantinopolitan architecture. Several of its architectural features have also been interpreted as set to create an ambient atmosphere directly connected with the type of worship, through the way natural light is distributed. Fragments of the church's original decoration survive in the form of wall paintings, fine examples of late Palaiologan art, which influenced later paintings in Serbia.

References:

Comments

Your name



Details

Founded: 14th century
Category: Religious sites in Greece

More Information

en.wikipedia.org

Rating

4.6/5 (based on Google user reviews)

User Reviews

Roland Monsegu (6 months ago)
Nice church
2nisos (2 years ago)
The Church of Prophet Elijah is a 14th-century church in Thessaloniki, Greece, and a UNESCO World Heritage Site
John Pravinos (2 years ago)
5 star BC it is gym at Pokémon go
Ana Assuncao (2 years ago)
It’s closed during the week. Maybe on Sunday morning is open. There is a garden around so you can rest with shadow. Spot to seat. The church is beautiful outside and it’s a must if you are going until the upon town.
Christos Tsiontsis (2 years ago)
One of the oldest temples of Thessaloniki. Unfortunately since it was destroyed by fire and earthquakes there are not much to see except the architecture, which is a very typical example of the temples of its time. I would recommend to walk through here in your visit to the churches of the city, light a candle and continue your way.
Powered by Google

Featured Historic Landmarks, Sites & Buildings

Historic Site of the week

Quimper Cathedral

From 1239, Raynaud, the Bishop of Quimper, decided on the building of a new chancel destined to replace that of the Romanesque era. He therefore started, in the far west, the construction of a great Gothic cathedral which would inspire cathedral reconstructions in the Ile de France and would in turn become a place of experimentation from where would later appear ideas adopted by the whole of lower Brittany. The date of 1239 marks the Bishop’s decision and does not imply an immediate start to construction. Observation of the pillar profiles, their bases, the canopies, the fitting of the ribbed vaults of the ambulatory or the alignment of the bays leads us to believe, however, that the construction was spread out over time.

The four circular pillars mark the start of the building site, but the four following adopt a lozenge-shaped layout which could indicate a change of project manager. The clumsiness of the vaulted archways of the north ambulatory, the start of the ribbed vaults at the height of the south ambulatory or the choice of the vaults descending in spoke-form from the semi-circle which allows the connection of the axis chapel to the choir – despite the manifest problems of alignment – conveys the hesitancy and diverse influences in the first phase of works which spread out until the start of the 14th century.

At the same time as this facade was built (to which were added the north and south gates) the building of the nave started in the east and would finish by 1460. The nave is made up of six bays with one at the level of the facade towers and flanked by double aisles – one wide and one narrow (split into side chapels) – in an extension of the choir arrangements.

The choir presents four right-hand bays with ambulatory and side chapels. It is extended towards the east of 3-sided chevet which opens onto a semi-circle composed of five chapels and an apsidal chapel of two bays and a flat chevet consecrated to Our Lady.

The three-level elevation with arches, triforium and galleries seems more uniform and expresses anglo-Norman influence in the thickness of the walls (Norman passageway at the gallery level) or the decorative style (heavy mouldings, decorative frieze under the triforium). This building site would have to have been overseen in one shot. Undoubtedly interrupted by the war of Succession (1341-1364) it draws to a close with the building of the lierne vaults (1410) and the fitting of stained-glass windows. Bishop Bertrand de Rosmadec and Duke Jean V, whose coat of arms would decorate these vaults, finished the chancel before starting on the building of the facade and the nave.

Isolated from its environment in the 19th century, the cathedral was – on the contrary – originally very linked to its surroundings. Its site and the orientation of the facade determined traffic flow in the town. Its positioning close to the south walls resulted in particuliarities such as the transfer of the side gates on to the north and south facades of the towers: the southern portal of Saint Catherine served the bishop’s gate and the hospital located on the left bank (the current Préfecture) and the north gate was the baptismal porch – a true parish porch with its benches and alcoves for the Apostles’ statues turned towards the town, completed by an ossuary (1514).

The west porch finds its natural place between the two towers. The entire aesthetic of these three gates springs from the Flamboyant era: trefoil, curly kale, finials, large gables which cut into the mouldings and balustrades. Pinnacles and recesses embellish the buttresses whilst an entire bestiary appears: monsters, dogs, mysterious figures, gargoyles, and with them a whole imaginary world promoting a religious and political programme. Even though most of the saints statues have disappeared an armorial survives which makes the doors of the cathedral one of the most beautiful heraldic pages imaginable: ducal ermine, the Montfort lion, Duchess Jeanne of France’s coat of arms side by side with the arms of the Cornouaille barons with their helmets and crests. One can imagine the impact of this sculpted decor with the colour and gilding which originally completed it.

At the start of the 16th century the construction of the spires was being prepared when building was interrupted, undoubtedly for financial reasons. Small conical roofs were therefore placed on top of the towers. The following centuries were essentially devoted to putting furnishings in place (funeral monuments, altars, statues, organs, pulpit). Note the fire which destroyed the spire of the transept cross in 1620 as well as the ransacking of the cathedral in 1793 when nearly all the furnishings disappeared in a « bonfire of the saints ».

The 19th century would therefore inherit an almost finished but mutilated building and would devote itself to its renovation according to the tastes and theories of the day.