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ÌéêñÝò éóôïñßåò ôçò ÎÜíèçò short stories of xanthi Áðü ôçí ïéêßá Êïõãéïõµôæüãëïõ óôï Ëáïãñáöéêü Ìïõóåßï ÎÜíèçò from kougioumtzoglou house to the folklore museum of xanthi

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© Öéëïðñüïäç ¸íùóç ÎÜíèçò Ëáïãñáöéêü Ìïõóåßï ÎÜíèçò Áíôßêá 7 67100 ÎÜíèç Ôçë 25410 25421 progressive association of xanthi 7 antika str 67100 xanthi-greece tel 30 25410.25421 email fexanthis@gmail.com www.fex.org.gr http fexblog.wordpress.com ÓõíôåëåóôÝò credits Á Ç Áñ÷éôåêôïíéêÞ ôçò Åðï÷Þò êáé ç Ìïñöïëïãßá ôïõ êôéñßïõ a architecture of the era and building s morphology Êåßµåíï åðéµÝëåéá ÊéêÞ ×ñéóôïäïýëïõ Åêôüò ôïõ êåéµÝíïõ ôïõ Ìé÷áÞë Íïµéêïý óôçí ôñßôç åíüôçôá µå ôßôëï Åðݵâáóç written and edited by kiki christodoulou apart from the third unit which is entitled intervention of michail nomikou Áããëéêü êåßµåíï Êáëëéüðç Ìáñôßíé ÓõíôçñÞôñéá ¸ñãùí ÔÝ÷íçò english text written by kalliopi martini conservator  ÓõíôçñÞóåéò Ôïé÷ïãñáöéþí êáé Ïñïöïãñáöéþí b conservation of murals and ceilings paintings Óýíôáîç êåéµÝíïõ ÊëåïðÜôñá ÔóïõñÜêç ÓõíôçñÞôñéá ¸ñãùí ÔÝ÷íçò written by kleopatra tsouraki conservator ÌåôÜöñáóç Óôáõñïýëá ÔáâïõëÜñç ÌåôáöñÜóôñéá-ÄéåñµçíÝáò translated by stavroula tavoulari translator and interpreter ma in i.r and european studies ÅðéµÝëåéá ÊåéµÝíïõ ÊéêÞ ×ñéóôïäïýëïõ Éóôïñéêüò ÔÝ÷íçò-Ìïõóåéïëüãïò êáé Ðáó÷Üëçò Îáíèüðïõëïò ÓõíôïíéóôÞò Ðïëéôéóôéêïý Ðñïãñܵµáôïò ÖÅÎ edited by kiki christodoulou art historian-museologist and paschalis xanthopoulos co-ordination of f.e.x s cultural programme director ÔõðïãñáöéêÝò äéïñèþóåéò proofreading ÔæÝíç ÊáôóáñÞ ÂáöåéÜäç tzeni katsari vaphiadi Ó÷åäéáóµüò åíôýðïõ graphic design Áíáóôáóßá Êáñõäïðïýëïõ anastasia karydopoulou Åêôýðùóç Åðéêïéíùíßá Á.Å 1/4ðéóèåí ïéêéóµïý Çöáßóôïõ ¸íáíôé Ðáíåðéóôçµéïýðïëçò Ô 25310 81149 printing epikoinonia ltd near hefestos district opposite the university campus e-mail epikoinonia.ae@gmail.com Ìå ôçí õðïóôÞñéîç ôïõ Éäñýµáôïò «Óôáýñïò ÍéÜñ÷ïò» with support from the stavros niarchos foundation ÏñãÜíùóç ðáñáãùãÞ ÖÅÎ production fex isbn 978-960-99246-3-4

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Ôï áñ÷ïíôéêü ôùí Áöþí Êïõãéïõµôæüãëïõ óÞµåñá Ëáïãñáöéêü Ìïõóåßï ÖÅÎ kougioumtzoglou brothers mansion todays folklore museum of f .e.x in xanthi photo f .e.x.

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Á Áñ÷éôåêôïíéêÞ åðï÷Þò êáé éäéáßôåñá µïñöïëïãéêÜ óôïé÷åßá ôïõ êôéñßïõ 1 Ç êáôïéêßá ôçò ïéêïãÝíåéáò Êïõãéïõµôæüãëïõ Ç ïéêïãÝíåéá áõôÞ ôùí êáðíåµðüñùí áíÞêå óôç µåãáëïáóôéêÞ ôÜîç ôçò ÎÜíèçò êáôÜ ôïí 19ï áéþíá êáé ÷áñáêôçñéæüôáí áðü ôçí áãÜðç ãéá ôéò ôÝ÷íåò êáé ôçí êáëëéÝñãåéÜ ôçò Ç åðï÷Þ ôçò áêµÞò ôçò ïéêïãÝíåéáò óõµðßðôåé µå ôçí ðñïóðÜèåéá ôçò ôïðéêÞò åëëçíéêÞò êïéíüôçôáò íá áðáãêéóôñùèåß áðü ôçí êáèáñÜ áãñïôéêÞ ïéêïíïµßá ôùí Ïèùµáíþí êáé íá áêïëïõèÞóåé ôá åõñùðáúêÜ ðñüôõðá ôçò åµðïñéêÞò êáé âéïµç÷áíéêÞò áíÜðôõîçò Ôï åµðüñéï ôïõ êáðíïý äéáôçñåß êáé åíéó÷ýåé ôçò ó÷Ýóåéò ôùí µåãáëåµðüñùí µå ôéò áíôßóôïé÷åò êïéíùíéêÝò ôÜîåéò ôçò Åõñþðçò ¸ôóé áí êáé óå ðåñßïäï ôïõñêïêñáôßáò ðáñáôçñåßôáé µßá óõóóþñåõóç ðëïýôïõ óôá ÷Ýñéá ôçò åëëçíéêÞò êïéíüôçôáò ðïõ áíáäåéêíýåé ãñÞãïñá µéá íÝá ôÜîç µå óõíå÷Þ ïéêïíïµéêÞ åîÝëéîç ðïëéôéóµéêÞ ðñüïäï êáé êïéíùíéêÞ ðñïóöïñÜ Ç êïéíùíéêÞ ôçò ðñïóöïñÜ äçëþíåôáé µå êáôáóêåõáóôéêÜ Ýñãá îåêéíþíôáò áðü ôéò éäéùôéêÝò êáôïéêßåò Áðü ôï 1830 êáé Ýðåéôá ôá óðßôéá áõôÜ ÷áñáêôçñßæïíôáé êõñßùò áðü ôçí åîùôåñéêÞ µïñöïëïãßá ôçò êåíôñéêÞò Åõñþðçò íåïêëáóéêéóµüò åêëåêôéóµüò êáé ôçí åóùôåñéêÞ äéáêüóµçóç µå ôïé÷ïãñáößåò Ðáñáôçñåßôáé µéá áðïµÜêñõíóç áðü ôçí ôïðéêÞ ðáñáäïóéáêÞ áñ÷éôåêôïíéêÞ ßóùò ãéáôß áíôéðñïóþðåõå ôçí ðåñßïäï ôçò äïõëåßáò Þ ßóùò ãéáôß ðïëëÜ óôïé÷åßá ôçò èåùñÞèçêáí ôïõñêéêÞò ðñïÝëåõóçò Ôá íÝá êôßñéá êñßèçêáí ùò äåßãµáôá µéáò íÝáò ðïñåßáò ðñïò ôçí åëåõèåñßá êáé ôçí ðñüïäï Ïé ðáñáäïóéáêÝò ãñáµµÝò åíôïýôïéò äåí åãêáôáëåßöèçêáí ðáñÜ óõíäõÜóôçêáí µå åõñùðáúêÜ óôïé÷åßá ÄéáôçñÞèçêå Üëëùóôå êáé ç õðÜñ÷ïõóá ðïëåïäïµßá ãýñù áðü ôçí ðëáôåßá Ìçôñïðüëåùò óôçí ïðïßá äéüëïõ ôõ÷áßá ãåéôíéÜæïõí ôá ðåñéóóüôåñá áñ÷ïíôéêÜ ôçò åðï÷Þò áõôÞò Óå áõôÞí ôç ÷ñïíéêÞ ðåñßïäï 1830 êáé Ýðåéôá êáôáóêåõÜæåôáé ðñþôá ç êáôïéêßá ôçò ïéêïãÝíåéáò Êïõ Á architecture of the era and building s morphology 1 the history of the museum the folklore museum of xanthi is an integrated and active part of the progressive association of xanthi in greece tie progressive association of xanthi filooproodi enosi xanthis fex is a historic cultural association which has been closely connected to the history of the town it was founded in 1952 and it was the first association of this kind in xanthi ever since its participation in the cultural life has been constant and important in 1965 fex began the collection of folk material and in 1975 the folklore museum of fex was established in one of the most beautiful buildings of the town the folklore museum is situated at 5-7 antika street and was the residence of kougioumtzoglou brothers tobacco merchants on a design brought from abroad in 1860 the folklore museum square of the old town opposite to the cathedral of saint john agios loannis and in the centre of the greek community area it should be mentioned here that at that time the whole region of thrace was under the turkish occupation part of the ottoman empire and the town of xanthi had a multinational population greeks turks bulgarians jews etc the greeks who were the majority involved mainly in business and tobacco trading with europe and were among the most prosperous ÌéêñÝò éóôïñßåò ôçò ÎÜíèçò short stories of xanthi Áðü ôçí ïéêßá Êïõãéïõµôæüãëïõ óôï Ëáïãñáöéêü Ìïõóåßï ÎÜíèçò from kougioumtzoglou house to the folklore museum of xanthi 4

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inhabitants of the town as mentioned above in 1965 fex the progressive association of xanthi began the collection of the folk material in 1968 a descendant of the kougioumtzoglou family bequeathed one of the two residences to the municipality of xanthi and in 1974 thanks to the great efforts of fex members the folk museum was founded and has being hosted in this building ever since1 later on in 1976 fex managed to acquire the second of the two residences and nowadays after the restoration of the biggest part of the building the association is trying to find the subsidies for further restoration works concerning the wall and ceiling paintings as well as the reorganization of the exhibition and the development of the storage facilities the collection contains traditional costumes and jewellery of different areas of greece folklore embroideries utensils furniture books and the archives and correspondence of the kougioumtzoglou family ÄçµÞôñéïò êáé ÌåëðïµÝíç Êïõãéïõµôæüãëïõ Öùô ÖÅÎ dimitrios and melpomeni kougioumtzoglou photo f .e.x 2 the significance of the collection the main scope of the museum and its exhibition is the preservation and the promotion of the history and civilization of the region the collection of the museum has got a great significance for the culture the education where there is a co-operation with the administrations of the educational departments of the municipality of xanthi and the tourism as well as for the transportation of other exhibitions based on the importance of the objects relics the geographical position of the region east-west and the multiculturalism the administrative council and the directory aim to the analysis of those elements and the search of national and private resources till 1908 1 ãéïõµôæüãëïõ óôç ãùíßá ôùí ïäþí Áíôßêá êáé ÏñöÝùò åíþ ãíùóôÞ åßíáé êáé ç ïéêßá Êïõãéïõµôæüãëïõ óôç Öéëéððïýðïëç ðïõ êáé åêåß óôåãÜæåé ôï Ëáïãñáöéêü Ìïõóåßï ôçò ðüëçò Ïé êáôüøåéò ôïõ êôéñßïõ ó÷åäéáóµÝíåò µå êåñß ðÜíù óå µåôáîùôü ýöáóµá Ýñ÷ïíôáé óôçí ÎÜíèç µåôÜ áðü Ýíá åµðïñéêü ôáîßäé µåëþí ôçò ïéêïãÝíåéáò óôï åîùôåñéêü Óýµöùíá µå ðñïöïñéêÝò µáñôõñßåò ç êáôáóêåõÞ ôçò äéðëÞò êáôïéêßáò ôùí áäåëöþí Êïõãéïõµôæüãëïõ óôç óçµåñéíÞ ïäü Áíôßêá áñ 5-7 îåêéíÜåé ôï 1860 êáé óõíå÷ßæåôáé ùò ôï 1862 Óôç óõíÝ÷åéá ôï 1866 ïëïêëçñþíïíôáé ïé ôïé÷ïãñáößåò êáé ç åóùôåñéêÞ äéáêüóµçóç áðü Âáõáñïýò êáé Îáíèéþôåò êáëëéôÝ÷íåò 2 Ôï êôßñéï ôõðïëïãßá-ðåñéãñáöÞ Âñßóêåôáé óôç âïñåéíÞ ðëåõñÜ ôïõ ëüöïõ ðÜíù óôïí ïðïßï åßíáé êôéóµÝíç ç ðáëéÜ ðüëç ôçò ÎÜíèçò ëßãá µÝôñá ðéï êÜôù áðü ôçí ðëáôåßá Ìçôñïðüëåùò ôïõ Ôéµßïõ Ðñï pamphlet 2002 filoproodi enosi xanthis fex

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Áðü ôçí ïéêßá Êïõãéïõµôæüãëïõ óôï Ëáïãñáöéêü Ìïõóåßï ÎÜíèçò from kougioumtzoglou house to the folklore museum of xanthi Ôá áñ÷éêÜ ó÷Ýäéá ôïõ êôéñßïõ óå µåôÜîé Öùô ÖÅÎ original plans of the building on silk fabric photo f .e.x 6 ÌéêñÝò éóôïñßåò ôçò ÎÜíèçò short stories of xanthi äñüµïõ Ôï êôßñéï áõôü êáèåáõôü ÷áñáêôçñßæåôáé áðü ôçí ïñèïãþíéá êáôáóêåõÞ ôïõ êáé åßíáé ÷ùñéóµÝíï óå äýï ðáíïµïéüôõðåò êáôïéêßåò ÊÜèå µßá Ý÷åé ôç äéêÞ ôçò áíåîÜñôçôç åßóïäï äýï ïñüöïõò êáé Ýíá çµéõðüãåéï êáé äßñé÷ôç êáôÜ µÞêïò ôïõ êôéñßïõ óôÝãç µå êåñáµßäéá Åßíáé öáíåñü üôé ôá ó÷Ýäéá ðïõ Ýöåñå ç ïéêïãÝíåéá Êïõãéïõµôæüëãïõ Ýãéíáí âÜóç ðåñéãñáöÞò ôïõ ïéêïðÝäïõ Ãé áõôü õðÜñ÷åé Ýíáò µéêñüò áêÜëõðôïò ÷þñïò óôçí áõëÞ óôï ðßóù µÝñïò ôçò êáôïéêßáò üðïõ Ý÷ïõí ôïðïèåôçèåß êáé ôá äýï ÷áµÜµ ÓðÜíéá åðßóçò åßíáé ç ðåñßðôùóç µéáò äéðëÞò êáôïéêßáò äßäõµùí óðéôéþí µå ïµïéüôçôåò óôéò åîùôåñéêÝò ôïõò üøåéò êáé ôçí åóùôåñéêÞ äéåõèÝôçóç ôùí äùµáôßùí ¸íá Üëëï óçµåßï ðïõ åíôõðùóéÜæåé åßíáé ç åðéâëçôéêÞ êëßµáêá êáé ï äéÜêïóµïò ôçò ðñüóïøçò Ïé åîùôåñéêïß ôïß÷ïé åßíáé öôéáãµÝíïé áðü ðÝôñá êáé óõíäåôéêü áñµü üðùò áðïêáëýöèçêå êáôÜ ôç äéÜñêåéá ôùí åñãáóéþí áðïêáôÜóôáóçò ôïõ êôßóµáôïò Óôçí êýñéá ðñüóïøç åðß ôçò ïäïý Áíôßêá õðÜñ÷ïõí åßêïóé Ýîé 26 ïñèïãþíéá ðáñÜèõñá ðïõ ôï êáèÝíá Ý÷åé êïñíßæá áðü ïðôüðëéíèï ÷ùñßò åðß÷ñéóµá êáé ëáîåõµÝíåò ðÝôñåò øáµµßôçò Êáé ïé äýï ðüñôåò åéóüäïõ åßíáé ôïîïåéäåßò êáé öÝñïõí åðßóçò êïñíßæá áðü ëáîåõµÝíåò ðÝôñåò êáé óôåíüôåñá ôùí õðïëïßðùí ðáñÜèõñá äåîéÜ part of the collection such as objects of the countryside happened with purchases and some donations but since 1980 and onwards the objects were mainly donated to the collection of the association the staff of the association is administrative with some external co-ordinators educational and special scientific for the managing of the programmes of the museum in the space of the museum there are also organised temporary exhibitions in collaboration with other institutions from greece and abroad the area where the progressive association of xanthi activates is the eastern macedonia and thrace these are two regions of greece most vibrantly alive with an oldcultural tradition this culture grew within the framework of the hellenic civilization that was both widespread and progressive and still possesses a character that is uniquely its own and therefore worth studying the population consists of many different religious social racial national

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êáé áñéóôåñÜ ôïõò Áðü ôéò ðüñôåò åéóüäïõ ðåñíÜ êáé ï Üîïíáò óõµµåôñßáò ôçò êÜèå êáôïéêßáò ðïõ õðÜñ÷åé åðéðëÝïí ôïõ Üîïíá óõµµåôñßáò üëïõ ôïõ êôßóµáôïò Ç äéáêüóµçóç ôçò ðñüóïøçò ðåñéëáµâÜíåé ôéò êïñíßæåòðëáßóéá ôùí áíïéãµÜôùí ðüñôåò-ðáñÜèõñá øåõäïðåóóïýò áðü ôïýâëï µå åðßêñáíá áåôþµáôá êïñíßæåò µå ôïýâëá ðëåãµÝíá áëõóéäùôÜ áíÜ äýï µðáëêüíéá µå ðåñßôå÷íá êÜãêåëá ÷ñùµáôéêÝò áíôéèÝóåéò ôùí õëéêþí ê.ô.ë ðïõ áíôáíáêëïýí ôçí åõñùðáúêÞ ñßæá ôùí ó÷åäßùí Ôï óýíïëï ôùí õäñïññïþí êáé ôçò áðïññïÞò õäÜôùí åßíáé öôéáãµÝíï áðü ÷õôïóßäçñï Ôï êôßñéï ðåñéôñéãõñéæüôáí áðü áõëÞ Óôï íïôéïäõôéêü Üêñï ôïõ üµùò ðñïóôÝèçêå áñãüôåñá Ýíá µéêñü êôßóµá ¸ôóé óÞµåñá åðß ôçò ïäïý Áíôßêá õðÜñ÷åé Ýíáò óôåíüò áýëåéïò ÷þñïò åíþ óôï ðßóù µÝñïò ôçò äéðëïêáôïéêßáò µåãáëýôåñç áõëÞ ðïõ ðåñéëáµâÜíåé êáé ôá äýï ÷áµÜµ óå ðáñáäïóéáêÞ áíáôïëßôéêç µïñöÞ ôåôñÜðëåõñá êôßóµáôá µå ôñïõëßóêï óôçí êÜèå ïñïöÞ Áðü ôá ôõðïëïãéêÜ ôïõ ÷áñáêôçñéóôéêÜ äéáðéóôþíïõµå åýêïëá ðùò ðñüêåéôáé ãéá Ýíá ôõðéêü åëëçíéêü íåïêëáóéêü óðßôé ôïõ 19ïõ áéþíá Åðéðñüóèåôá ôï åóùôåñéêü ôïõ êôßóµáôïò äéáéñåßôáé óå äåêáôñåßò 13 áßèïõóåò óõµµåôñéêÜ êáôáíåµçµÝíåò óå ó÷Ýóç µå ôïí Üîïíá ðïõ ÷ùñßæåé ôéò äýï êáôïéêßåò üðùò áõôü öáßíåôáé êáé óôçí êÜôïøç ôïõ éóïãåßïõ Óôï éóüãåéï êáé ïé äýï ïéêåßåò áðïôåëïýíôáé áðü Ýíá µåãÜëï ïñèïãþíéï ÷ùë åéóüäïõ óôï âÜèïò ôïõ ïðïßïõ âñßóêåôáé ç óêÜëá ðïõ ïäçãåß óôïí üñïöï ðßóù áðü Ýíá äéá÷ùñéóôéêü µå ãõáëß êáé îýëï ÅêáôÝñùèåí ôïõ êÜèå ÷ùë áíïßãïíôáé ôÝóóåñéò ÷þñïé Ç ßäéá êáôáíïµÞ ÷þñùí áêïëïõèåßôáé êáé óôïí üñïöï Óå áõôÜ ôá äýï åðßðåäá µðïñåß êáíåßò íá ðáñáôçñÞóåé êáé ôçí åóùôåñéêÞ äéáêüóµçóç µå ôïé÷ïãñáößåò êáé ïñïöïãñáößåò Óôï õðüãåéï êáôåîï÷Þí ÷þñï áðïèÞêåõóçò êáôÜ µÞêïò åíüò åßäïõò äéáäñüµïõ âñßóêïíôáé óå áêïëïõèßá ïé ÷þñïé µåãáëýôåñïé óå ó÷Ýóç µå ôá Üëëá åðßðåäá êáé µå ôïîïåéäÞ áíïßãµáôá åéóüäïõ ãéá ôïí êÜèå Ýíá 1/4ëá ôá ðáñÜèõñá êáé ïé ðüñôåò Ý÷ïõí îýëéíá êïõöþµáôá êáé áñ÷éêÜ µïíïýò õáëïðßíáêåò Îýëéíá åßíáé êáé üëá ôá ðáôþµáôá ôïõ éóïãåßïõ êáé ôïõ ïñüöïõ 3 Åðݵâáóç Ç áðïêáôÜóôáóç üëïõ ôïõ êôéñßïõ ï åêóõã÷ñïíéóµüò ôùí åãêáôáóôÜóåùí êáé ï ôñüðïò ëåéôïõñãßáò ôïõ ùò Ëáïãñáöéêïý Ìïõóåßïõ ôçò ðüëçò óå Ýíá åíéáßï êôéñéáêü Ó÷Ýäéï ôµÞµáôïò ôçò ðñüóïøçò ôïõ êôéñßïõ Öùô ÖÅÎ plan of the façade of the building photo f .e.x groups which from the previous centuries affected the life and the development of the area the gathering of the cultural social and environmental elements that will aid to the research education and recreation of the population with its local history and the ability of development of these elements is the main objective of the association consequently and that of the museum through the cultural significance of the collection today the museum hosts in its space exhibitions that present elements from the public and private life the social economic and religious life of the town and the countryside from the beginning of the 20th century 3 legal status of the folklore museums in greece all the greek folklore museums in greece which are public are under the administrative control of the ministry of

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8 ÌéêñÝò éóôïñßåò ôçò ÎÜíèçò short stories of xanthi Áðü ôçí ïéêßá Êïõãéïõµôæüãëïõ óôï Ëáïãñáöéêü Ìïõóåßï ÎÜíèçò from kougioumtzoglou house to the folklore museum of xanthi Ôï ÷ùë ôçò åéóüäïõ ôïõ Ëáïãñáöéêïý Ìïõóåßïõ Öùô ÖÅÎ folklore museum s entrance photo f .e.x.

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óýíïëï Þôáí ïé óôü÷ïé ôçò µåëÝôçò êáé ôçò åðݵâáóçò Åßíáé áõôïíüçôï üôé Ýðñåðå íá äïèåß éäéáßôåñç ðñïóï÷Þ óôïí ôñüðï ðñïóÝããéóçò êáé áíôéµåôþðéóçò ôïõ êôéñßïõ Ïé åðåµâÜóåéò ðïõ Ýãéíáí åíôïðßóôçêáí áö åíüò óôç èåñáðåßá ôùí öèïñþí ñçãµáôþóåéò ðëéíèïäïµþí ÷áëÜñùóç óõíåêôéêüôçôáò óå óçµåßá ôçò ëéèïäïµÞò ôùí èåµåëßùí êáé ôùí ðëéíèïäïµþí áðïêïëëÞóåéò êïóµçµÜôùí üøåùí êáé ôµçµÜôùí åðé÷ñéóµÜôùí Ãéá ôéò óôåñåþóåéò êáé áðïêáôÜóôáóç ôçò óõíï÷Þò ôùí äïµéêþí µåëþí ÷ñçóéµïðïéÞèçêáí åéäéêÜ éó÷õñÜ óõãêïëëçôéêÜ êïíéܵáôá ñçôéíþí Üãêéóôñá êáé âëÞôñá 1/4óï ãéá ôçí ðñïóôáóßá ôïõ êôéñßïõ áðü ôçí õãñáóßá äçµéïõñãÞèçêå ðåñéµåôñéêÞ ôÜöñïò µå µåµâñÜíåò ëéèïñéðÞ êáé áðïóôñáããéóôéêïýò óùëÞíåò ðñïò ôïõò áãùãïýò ïµâñßùí ôçò ðüëçò Ôï µç áíáµåíüµåíï Þôáí ï èáõµÜóéïò ÷þñïò ôïõ çµéõðüãåéïõ ðïõ ðñïÝêõøå µåôÜ ôçí ôáðåßíùóç ôïõ äáðÝäïõ ôïõ êáôÜ 0.50µ ãéá ôç óôåñÝùóç êáé «äÝóéµï» ôùí ëéèïäïµþí ôùí èåµåëßùí êáé ôïí êáèáñéóµü ôïõò áðü ôá åðé÷ñßóµáôá ¸ôóé ôï õðüãåéï äå äéáôÝèçêå üðùò ðñïâëåðüôáí ùò ÷þñïò áðïèçêåõôéêüò áëëÜ ùò ÷þñïò åñãáóôçñßïõ óõíôÞñçóçò åêèåµÜôùí êáôÜ Ýíá µéêñü ôµÞµá ôïõ êáé åêèåóéáêüò ÷þñïò êáôÜ ôç µåãáëýôåñÞ ôïõ Ýêôáóç ¸ôóé ðÝñá áðü ôç èåñáðåßá ôùí öèïñþí êáé ôçí áíÜôáîç ôùí ôïé÷ïðïééþí êáôÜ óçµåßá ôï õðüëïéðï ôçò åðݵâáóçò åß÷å êõñßùò ÷áñáêôÞñá óõíôÞñçóçò áíáíÝùóçò êáé µéêñïåðéóêåõþí ëåéôïõñãßá êïõöùµÜôùí óôåñÝùóç êéãêëéäùµÜôùí óôïêÜñéóµá ðëßíèùí êáôÜ óçµåßá ôñßøéµï êáé óôïêÜñéóµá äáðÝäùí áíáíÝùóç ÷ñùµáôéóµþí ê.ë.ð Óõã÷ñüíùò áêïëïõèþíôáò ôá äåäïµÝíá ôïõ êôéñßïõ ôå÷íéêÜ êáé áéóèçôéêÜ Ýãéíå ðñïóðÜèåéá åêóõã÷ñïíéóµïý ôïõ Ç/Ì åãêáôáóôÜóåéò ãéá íá áíôåðåîÝëèåé óôç íÝá ôïõ ëåéôïõñãßá w.c ôçëÝöùíá êëéµáôéóµüò ê.ëð Ôåëéêüò óôü÷ïò ôçò åðݵâáóçò Þôáí íá äçµéïõñãÞóåé Ýíá êôéñéáêü óõãêñüôçµá áðïêáôåóôçµÝíï µå óåâáóµü óôçí éóôïñßá ôïõ êáé ôçí ðïéüôçôÜ ôïõ åêóõã÷ñïíéóµÝíï äéáêñéôéêÜ þóôå íá êáëýðôåé êáôÜ ôï âÝëôéóôï ôñüðï ôç íÝá ôïõ ÷ñÞóç êáé ôÝëïò íá áíáíåþóåé ôçí åíôõðùóéáêÞ ôïõ ðáñïõóßá êáé óôï µéêñïðåñéâÜëëïí ôïõ êáé óôçí êïéíùíéêÞ êáé ðíåõµáôéêÞ æùÞ ôçò ðüëçò Ïöåßëïõµå óôï óçµåßï áõôü íá áíáöÝñïõµå ôá ïíüµáôá ôçò ïµÜäáò µåëÝôçò ôïõ Ýñãïõ áðïêáôÜóôáóçò ôçò êáôïéêßáò Êïõãéïõµôæüãëïõ ÌåëåôçôÝò ôïõ ¸ñãïõ Ìáíþëçò Áíáãíùóôßäçò áñ÷éôÝêôùí µç÷áíéêüò ÓõíåñãÜôåò ËåõôÝñçò ×áôæçãñçãïñßïõ áñ÷éôÝêôùí µç÷áíéêüò Áñãýñçò ÐëÝóéáò ðïëéôéêüò µç÷áíéêüò Ãéþñãïò Óôõëéáíßäçò Çëåêôñïëüãïò µç÷áíéêüò Áðü ôï âéâëßï «ÁðïêáôÜóôáóç-ÅðáíÜ÷ñçóç Ìíçµåßùí êáé Éóôïñéêþí êôéñßùí óôç Âüñåéá ÅëëÜäá» ôïõ Ìé÷áÞë Íïµéêïý culture all those museums are legal entities of public law generally other folklore museums that are legal entities of public/private law are supported financially and are under the administrative control of the ministry of culture as well lack of the appropriate legal status for the foundation of folklore museums presents results in the uncontrolled establishment of museums that do not respect the specifications of creation of contemporary museums co-operation between museums exists mainly on educational programmes and documentation of folklore museum material in other cases joint research programmes are developed between museums such as the creation of standards for the registration and documentation of ethnographic objects in co-operation with the university of petra and the ethno working group -cidoc of icom at present there is no professional specialization in the domain of museology in greece consequently the staff of museums which has proper training is not considered to be sufficient the existing staff mainly acquires specialized training in other countries or consists of graduates of the school of philosophy in greece a number of folk museums as well as their staff participate in the international council of museums icom the policy of museums in general is defined by the ministry of culture2 4 the museum s collection management policy the folklore museum of xanthi was established as an institution after the complete acquisition of the building to the possession of fex this can clearly indicates that the museum functions as an integrated part of it and it is directed by members of 2 www.cordistelematics for libraries museums archives 1999

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Áðü ôçí ïéêßá Êïõãéïõµôæüãëïõ óôï Ëáïãñáöéêü Ìïõóåßï ÎÜíèçò from kougioumtzoglou house to the folklore museum of xanthi ÁíáðáñÜóôáóç ôñáðåæáñßáò óôï Ëáïãñáöéêü Ìïõóåßï Öùô ÖÅÎ representation of a dinning room in the folklore museum of f .e.x photo f .e.x 4 Ôï Ëáïãñáöéêü Ìïõóåßï ôçò ÖÅÎ 1/4ëá îåêßíçóáí ôï 1952 üôáí éäñýèçêå ç Öéëïðñüïäïò ¸íùóéò ÎÜíèçò Ùò ðïëéôéóôéêüò öïñÝáò åßíáé óôåíÜ óõíäåäåµÝíïò µå ôçí éóôïñßá ôçò ðüëçò ðÜíù áðü 50 ÷ñüíéá ÄéáäñáµÜôéóå áðü ôçí ðñþôç óôéãµÞ óçµáíôéêü ñüëï óôçí «ôáõôüôçôá» ôçò ðåñéï÷Þò µå ôçí ßäñõóç äýï âéâëéïèçêþí êáé ôç äùñåÜ ôïõò óôï ÄÞµï ÎÜíèçò êáé ôçí ôüôå Êïéíüôçôá ÁâäÞñùí Ôï 1965 Üñ÷éóå áðü ôç ÖÅÎ ç óõãêÝíôñùóç ëáïãñáöéêïý õëéêïý êáé ôï 1966 îåêßíçóå ôï èåóµü ôùí Ëáïãñáöéêþí Åïñôþí µå ôßôëï «ÁðïêñéÜôéêåò ÈñáêéêÝò ÃéïñôÝò» ÁõôÝò ïé äýï êéíÞóåéò åß÷áí óêïðü íá áíáâéþóïõí ôá Þèç êáé ôá Ýèéµá ôçò ÈñÜêçò ôç óõãêÝíôñùóç äéÜóùóç êáé äéáôÞñçóç ëáïãñáöéêïý õëéêïý ôçò ðåñéï÷Þò êáé ôçí ðñïâïëÞ ôïõ õëéêïý áõôïý Óôï ðëáßóéï áõôþí ôùí ðñïóðáèåéþí ôçò ¸íùóçò óõãêáôáëÝãåôáé êáé ç äéÜóùóç ôïõ ñïëïãéïý ðïõ äåóðüæåé óÞµåñá óôçí êåíôñéêÞ ðëáôåßá ôçò ðüëçò Ïé äñÜóåéò ôçò äåí óôáµáôïýí åäþ áöïý ôï 1971 ßäñõóå ôçí ðñþôç êéíçµáôïãñáöéêÞ ëÝó÷ç ôçò ðüëçò êáé óÞµåñá ðéá ôá åñãáóôÞñéá ÷ïñåõôéêü èåáôñéêü æùãñáöéêÞ ðáéäéþí êáé åíçëßêùí 10 ÌéêñÝò éóôïñßåò ôçò ÎÜíèçò short stories of xanthi the association there is no formally structured staff according to the uk s museums standards the director mrs stathopoulou gerakina is responsible mainly for the care of the collections in the museum and mr xsanthopoulos pashalis manages the directory of the museum concerning issues such as funds raising the maintenance of the building organising exhibitions and other programmes within the space of the museum both are active members of the progressive association of xanthi fex although the museum functions as an institution for the past few years however it was only lately after the restoration of the building that it managed to exhibit part of its ethnographic collections as mentioned above most of the objects after 1980 have been donated to the museum and before that many had been purchased by the association it is unfortunate to state

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Ç õöáíôéêÞ ôÝ÷íç áñãáëåéüò õöÜóµáôá êáé íÞµáôá Öùô ÖÅÎ textile art loom fabric and threads photo f .e.x ÁíáðáñÜóôáóç ôïõ ãñáöåßïõ ôïõ êáðíåµðüñïõ Êïõãéïõµôæüãëïõ Öùô ÖÅÎ representation of tobacco merchant kougioumtzoglou s office photo f .e.x.

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12 ÌéêñÝò éóôïñßåò ôçò ÎÜíèçò short stories of xanthi êïóµÞµáôïò öùôïãñáößáò êüµéê ê.ï.ê äåí ðáýïõí íá áõîÜíïíôáé ÷ñüíï µå ôï ÷ñüíï Óçµáíôéêüôåñç ßóùò ÷ñïíéÜ üµùò óôçí éóôïñßá ôïõ ðáëáéüôåñïõ óùµáôåßïõ ôçò ðüëçò Þôáí ôï 1968 ÷ñïíéÜ ðïõ ç µßá åê ôùí äýï êáôïéêéþí Êïõãéïõµôæüãëïõ ðåñéÞëèå óôç ÓôÝãç ÃñáµµÜôùí Ôå÷íþí ôïõ ÄÞµïõ ÎÜíèçò µå äéáèÞêç ôçò éäéïêôÞôñéáò Åõáããåëßáò ÂÜñäá-Áíáãíùóôïðïýëïõ áðïãüíïõ ôçò ïéêïãÝíåéáò ôùí êáðíåµðüñùí Áðü ôüôå µå «¸ãêñéóç Äéáñêïýò ×ñÞóåùò» ôïõ ÄÞµïõ ÎÜíèçò ôï êôßñéï ðáñá÷ùñÞèçêå óôç Öéëïðñüïäç ¸íùóç ÎÜíèçò ëüãù ôçò óçµáíôéêüôáôçò ðïëéôéóôéêÞò êáé êáëëéôå÷íéêÞò ôçò äñáóôçñéüôçôáò þóôå íá óôåãÜóåé åêåß ôçí ðëïýóéá óõëëïãÞ ëáïãñáöéêïý õëéêïý ðïõ Þäç åß÷å óõóóùñåõôåß ÁµÝóùò µå µÝñéµíá ôçò ÖÅÎ êáé µå åðéäüôçóç ôïõ Õðïõñãåßïõ Ðïëéôéóµïý Ýãéíáí ïé áðáñáßôçôåò åðéóêåõÝò êáé äéåõèåôÞóåéò ôïõ êôßóµáôïò Ôï 1974 éäñýåôáé ôï Ëáïãñáöéêü Ìïõóåßï Ôï íïµéêü êáèåóôþò ôùí µïõóåßùí ðïõ áíÞêïõí óå óõëëüãïõò êáé óùµáôåßá äåí åßíáé óùóôÜ èåµåëéùµÝíï áðü ôç íïµïèåóßá áêüµç êáé óÞµåñá áöïý óõóôÞíåôáé ðïëý ãåíéêÜ ï ïéêïíïµéêüò Ýëåã÷ïò êáé ç äéïéêçôéêÞ õðïóôÞñéîç áðü ôï ÕÐ.ÐÏ ðïõ ÷ùëáßíåé üµùò óôçí ðñÜîç ëüãù åëëéðþí äéáôÜîåùí Åíôïýôïéò ç Ýêèåóç ôïõ Ëáïãñáöéêïý Ìïõóåßïõ ôçò ÖÅÎ óôÞèçêå ôï 1972 µå ôç âïÞèåéá ôçò ËáïãñÜöïõ êáé Éóôïñéêïý Ðüðçò Æþñá êáé ôïõ Êùíóôáíôßíïõ ÊåöáëÜ Äéåõèõíôç ôïõ Ëáïãñáöéêïý êáé Åèíïëïãéêïý Ìïõóåßïõ Ìáêåäïíßáò Ôá åðßóçµá åãêáßíéá üµùò Ýãéíáí ôïí ÖåâñïõÜñéï ôïõ 1977 Óôç óõíÝ÷åéá ôï 1976 µå ôç âïÞèåéá ôùí ßäéùí öïñÝùí ç ÖÅÎ êáôÜöåñå íá áãïñÜóåé ôç äåýôåñç áðü ôéò äýï êáôïéêßåò êáé áðü ôüôå äåí óôáµÜôçóå ç ðñïóðÜèåéá åîáóöÜëéóçò ðüñùí þóôå íá åµðëïõôéóôåß ôï Ìïõóåßï êáé íá âåëôéþíïíôáé ïé óõíèÞêåò Ýêèåóçò Ôï Ëáïãñáöéêü Ìïõóåßï ëåéôïýñãçóå µå µÝñéµíá ôçò ÖÅÎ µÝ÷ñé ôï 1997 ïðüôå Üñ÷éóáí íá ðáñïõóéÜæïíôáé óïâáñÜ ðñïâëÞµáôá ëüãù ôçò ðáëáéüôçôáò ôùí êôéñßùí Ìå óõíôïíéóµÝíåò ðñïóðÜèåéåò ôïõ Ä.Ó ôçò ÖÅÎ êáé ôïõ ÄÞµïõ ÎÜíèçò åîáóöáëßóôçêáí êïíäýëéá áðü ôï  Ðåñéöåñåéáêü Åðé÷åéñçóéáêü Ðñüãñáµµá ãéá ôçí áðïêáôÜóôáóç ôùí êôéñßùí êáé ôç äéáµüñöùóç that the museum as an institution can not meet 100 the criteria based on the today s museums management policies and this certainly is a major factor that can affect the care and condition of the collections as well as the maintenance of the building that hosts the collection the biggest problem is the small budget of the museum and the lack of financial sources in order to achieve main goals and to be developed internally as an active institution however it is crucial to mention that few years ago the museum managed to raise funds for the conservation of a large number of the ethnographic collection including mainly wooden and metallic artefacts which are now displayed in the restored basement of the museum moreover the museum tries constantly to raise funds for the completion of the restoration of the interior of the building and the documentation of its collections including surveys conservation projects preventive measurements etc in order to ensure the care of the collection and to be established as museum of european standards the archives and the collection of fex consist of · objects of every use coming from different social religious and economical groups which most of them have been documented and conserved giving lots of information to researchers historians etc · books and documents of the family kougioumtzoglou but also of other families and parties of the town · photographs and post cards a rich collection that depicts the identity of the town and the era Áðü ôçí ïéêßá Êïõãéïõµôæüãëïõ óôï Ëáïãñáöéêü Ìïõóåßï ÎÜíèçò from kougioumtzoglou house to the folklore museum of xanthi.

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ôïõ ðåñéâÜëëïíôáò ÷þñïõ Ôï Ýñãï ïëïêëçñþèçêå ôï 2000 µå ôçí åðßâëåøç ôçò Ôå÷íéêÞò õðçñåóßáò ôïõ ÄÞµïõ ÎÜíèçò êáé ðáñáäüèçêå óôç ÖÅÎ ôï 2001 Ï óôü÷ïò âåëôßùóçò ôùí óõíèçêþí Ýêèåóçò ç ôåêµçñßùóç êáé ðñïâïëÞ ôùí óõëëïãþí êáé ç óùóôÞ äéáôÞñçóç êôéñßùí êáé áíôéêåéµÝíùí åßíáé ëßãá µüíï óçµåßá áðü åêåßíá ðïõ óõíå÷ßæïõí íá áðáó÷ïëïýí ôïõò óõµµåôÝ÷ïíôåò óôç ëåéôïõñãßá ôïõ Ëáïãñáöéêïý Ìïõóåßïõ Ïé óõëëïãÝò ôïõ Ý÷ïõí µåãÜëç óçµáóßá ãéá ôïí ðïëéôéóµü ôçí åêðáßäåõóç ôïí ôïõñéóµü óôçí ðåñéï÷Þ áëëÜ äçµéïõñãïýí êáé ôïí ðõñÞíá ðñïâïëÞò Üëëùí ðñïóùñéíþí åêèÝóåùí óôçí ðüëç ÌÝ÷ñé ôï 1980 ôá ðåñéóóüôåñá áíôéêåßµåíá óõãêåíôñùíüôáí µåôÜ áðü Ýñåõíá ðåäßïõ áãïñÜ êáé µéêñÝò äùñåÝò ÌåôÜ ôï 1980 ôá áíôéêåßµåíá ðïõ óõãêåíôñþíïíôáé ðñïÝñ÷ïíôáé êõñßùò áðü äùñåÝò Ç µüíéµç Ýêèåóç êáëýðôåé êáé ôá ôñßá åðßðåäá ôùí êáôïéêéþí üðïõ óõíïðôéêÜ óõãêåíôñþíïíôáé Áíôéêåßµåíá êáèçµåñéíÞò ÷ñÞóçò ðñïåñ÷üµåíá áðü äéáöïñåôéêÝò êïéíùíéêÝò èñçóêåõôéêÝò êáé ïéêïíïµéêÝò êïéíùíéêÝò ïµÜäåò ôá ðåñéóóüôåñá êáôáãåãñáµµÝíá êáé êáëÜ äéáôçñçµÝíá þóôå íá ðáñÝ÷ïõí ðëçñïöïñßåò óôïí åðéóêÝðôç ôïí åñåõíçôÞ ôïí éóôïñéêü ê.Ü Âéâëßá êáé Ýããñáöá ôçò ïéêïãÝíåéáò Êïõãéïõµôæüãëïõ êáé Üëëùí ïéêïãåíåéþí êáé áôüµùí ôçò ðüëçò Öùôïãñáößåò êáé êÜñôåò óôéò ïðïßåò áðïôõðþíåôáé ç ôáõôüôçôá ôçò ðüëçò êáé ôçò åðï÷Þò Ìéá ðëïýóéá óõëëïãÞ åíäõµáóéþí êáé êåíôçµÜôùí ðëåêôþí êáé õöáíôþí õöáóµÜôùí êáé ðáñáäïóéáêÝò öïñåóéÝò ôïõ ÷ïñåõôéêïý åñãáóôçñßïõ ôçò ÖÅÎ ÊïóµÞµáôá êáé ðïëýôéµá áíôéêåßµåíá ðïõ ðåñéãñÜöïõí ôïõò áíèñþðïõò êáé ôïí ôñüðï æùÞò ôïõò óôï ôÝëïò ôïõ 19ïõ áéþíá Ðßíáêåò æùãñáöéêÞ êáé Üëëá áíôéêåßµåíá ôÝ÷íçò íåüôåñá êáé óýã÷ñïíá äùñåÝò êáëëéôå÷íþí ðïõ èÝëçóáí íá óôçñßîïõí ôï Ýñãï ôçò ÖÅÎ Ðéï óõãêåêñéµÝíá óôï çµéõðüãåéï üðïõ âñéóêüôáí ôï êåëÜñé ôùí êáôïéêéþí Ý÷ïõí óõãêåíôñùèåß óôç µßá ðëåõñÜ áíôéêåßµåíá ôçò áãñïôéêÞò æùÞò ðïõ ó÷åôßæïíôáé µå ôéò áó÷ïëßåò óôïõò áãñïýò êáé óôï óðßôé Óôï Üëëï µéóü ç Ýêèåóç áöïñÜ óôïõò åðáããåëµáôßåò ôçò ÎÜíèçò óôá ôÝëç ôïõ 19ïõ êáé ôéò áñ÷Ýò ôïõ 20ïõ áé µå ó÷åäüí ïëïêëçñùµÝíá êáôáóôÞµáôá êáé åñãáóôÞñéá êÜðïéùí åðáããåëµÜôùí Óôï éóüãåéï åêôüò áðü ôïõò ÷þñïõò äéïßêçóçò ðñïâï · costumes and embroideries a precious collection as well as needlework and other textiles part of the traditional folklore dance group of the association · jewellery and other precious objects that described the people and their houses in the last century · paintings and other works of art which were donated to fex by famous artists encouraging in that way the worthwhile work of the association as far as the textile collection is now specifically concerned there hasn t been done any sort of documentation so far on the objects it is a quite large collection that contains overall costumes and parts of them some are rural ones and others of middle class dating at the beginning of the 20th century there are also traditional embroideries called tsevredes aprons nosebags haversacks rough blankets carpets pillow cases flags waistbands etc none of the textiles have ever been conserved the 90 of them are stored and some are displayed on mannequins but not in showcases 5 environmental building survey 5.1 aims and objectives of the survey the purposes of the environmental building undertaken was to identify the problems on the building and how these can consequently affect the museum s collections to understand such the importance of the factors causing deterioration as the importance of preventive conservation issues and to recommend solutions for the best possible care of the collections inside the building the folklore museum is sited on antika street xanthi in the north side of the uphill part of the town the weather conditions on the date of the survey were sunny dry with extreme heat during the morning

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and a mild breezy wind during the afternoon the day of the survey conducted was the 14th of july 2006 5.2 construction of the museum s building the folklore museum is situated on antika street xanthi in the north side of the uphill part of the town the house itself is an orthogonal structure divided in two similar residences with separate entrances it has two stores and a semibasement and is covered by a tiled hip roof the external walls are made of stones and cement which have been revealed after the restoration of the building there are twenty-six rectangular windows in the front elevation of the building which are surrounded by frames of bricks and carved stones the door of the main entrance is an arched one and is framed by carved stone as well the building s drainage is made of cast iron all the cutters and the down pipes are external there is a small garden surrounds the museum on each four elevations and at its south west corner a small structure was later added the front of the house is decorated with frames around openings capitals pilasters cornices parapets steel balconies etc reminding of the european origin of its drawings this is a typical greek neoclassic house of the 19th century on the ground floor each of the two residencies consists of a big central orthogonal reception room a hall with the main entrance of the house in the front the staircase to the second floor at the back and the doors of four rooms on the left and right side additionally the interior design of the building can be divided into 13 sections/rooms according to top Áðü ôçí ïéêßá Êïõãéïõµôæüãëïõ óôï Ëáïãñáöéêü Ìïõóåßï ÎÜíèçò from kougioumtzoglou house to the folklore museum of xanthi Ôï ÷áµÜµ ðñéí ôçí áðïêáôÜóôáóÞ ôïõ óôçí áõëÞ ôïõ Ëáïãñáöéêïý Ìïõóåßïõ Öùô ÖÅÎ hamam/turkish bath before its conservation in the folklore museum s yard photo f .e.x 14 ÌéêñÝò éóôïñßåò ôçò ÎÜíèçò short stories of xanthi ëÞò êáé ëåéôïõñãßáò åñãáóôçñßùí ðáñïõóéÜæåôáé äñáµáôïðïéçµÝíá ç æùÞ ôçò áóôéêÞò ôÜîçò ôçò ÎÜíèçò ôïí 19ï áé ôÜîç óôçí ïðïßá áíÞêå êáé ç ïéêïãÝíåéá Êïõãéïõµôæüãëïõ Ïé ÷þñïé åßíáé Üëëùóôå áõôïß óôïõò ïðïßïõò êéíïýíôáí êáé æïýóáí ôá µÝëç ôçò ïéêïãÝíåéáò êïõæßíá ôñáðåæáñßá ÷ùë óáëüíé ãñáöåßï áßèïõóá ðéÜíïõ ÔÝëïò ï üñïöïò åßíáé ôï µüíï åðßðåäï ðïõ äåí õðÜñ÷åé ܵåóç åðéêïéíùíßá ôùí äýï êáôïéêéþí Óôï Ýíá êôßñéï ï üñïöïò åßíáé áöéåñùµÝíïò óôç ëåéôïõñãßá ôïõ Ðïëéôéóôéêïý Ñáäéïöþíïõ ôçò ÖÅÎ êáé êÜðïéùí åñãáóôçñßùí Óôç äåýôåñç êáôïéêßá Ý÷åé áíáðáñáóôáèåß µßá êñåâáôïêܵáôá Ýíá ðáéäéêü äùµÜôéï üðïõ óõãêåíôñþèçêå êáé ðëïýóéï ó÷ïëéêü õëéêü ç áßèïõóá ôùí ãñáµµáôïóÞµùí êáé ôï ãñáöåßï ôçò Êáôßíáò ÂÝéêïõ-ÓåñáµÝôç Âãáßíïíôáò áðü ôï êõñßùò êôßñéï óôçí ðßóù áõëÞ µðïñïýµå íá äïýµå ôá äýï ÷áµÜµ áíäñéêü êáé ãõíáéêåßï ðïõ äéáôçñïýí ôçí áñ÷éêÞ ôïõò µïñöÞ µÝ÷ñé óÞµåñá.

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