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 Journal of Contemporary Urban Affairs
2020, Volume 4, Number 2, pages 1– 12

The Identification of The City on The Legibility and

Wayfinding Concepts: A Case of Trabzon
* Dr. Aysel Yavuz 1 , Dr. Nihan Canbakal Ataoğlu 2 and Dr. Habibe Acar 3
Department of Landscape Architecture, Faculty of Forestry, Karadeniz Technical University, Trabzon, Turkey
1 and 3
2 Karadeniz Technical University, Trabzon Vocational High School, Department of Architecture and Urban Planning, Trabzon, Turkey
1 E mail: ayavuz75@hotmail.com , 2 E mail: canbakalnihan@hotmail.com , 3 E mail: habibeacar@hotmail.com

A R T I C L E I N F O:
Article history:
Received 20 June 2019
Accepted 23 July 2019
Available online 1 September
2019
Keywords:
Legibility;
Direction Designs;
Circulation;
Urban Design;
Trabzon.
This work is licensed under a
Creative Commons Attribution -
NonCommercial - NoDerivs 4.0.
"CC-BY-NC-ND"
This article is published with Open
Access at www.ijcua.com
ABSTRACT
The concept of wayfinding includes understanding the space and finding direction
within the space. But as cities and architectural spaces grow and become more
complex, visitors and locals of the sapce can find it difficult to find direction. For
these reasons, for visitors who speak different languages, along with these
elements, there is a need for well-designed information and direction-finding
graphics and landmarks that have a universal quality.
The aim of the study is to explain the concepts of wayfinding and way-finding,
defined as “direction-finding” in the literature and to create awareness.
Furthermore, to analyze the concept of wayfinding and the direction designs that
aim to transform the cities that have become complex into more understandable
spaces, through the city of Trabzon and to examine the problems of the city in this
context and to make suggestions.
In this study, Trabzon will be evaluated with the concepts of legibility and
directability and the direction and information designs over the focal point,
regions, edges, nodes, roads with which Kevin Lynch have defined the imageable,
readable city. A survey was conducted to investigate the spatial information
elements and legibility of Trabzon city. Furthermore, to create awareness for other
cities with similar problems.

JOURNAL OF CONTEMPORARY URBAN AFFAIRS (2020), 4(2), 1-12.

https://doi.org/10.25034/ijcua.2020.v4n2-1

www.ijcua.com
Copyright © 2019 Journal of Contemporary Urban Affairs. All rights reserved.
he states that a city is perceived and encoded to
1. INTRODUCTION our minds with “roads, monuments, regions,
1.1. Identification of The City, Legibility and borders and signs”.
Direction Finding According to Lynch (1960); “Structuring and
When the growth and resemblance of the cities to defining the environment is a very important skill for
each other by becoming ordinary started to be a all living creatures.
problem, the first studies on direction finding and
legibility of the city were brought forward by Kevin *Corresponding Author:
Lynch in 1960s. In his book City Image, Lynch Department of Landscape Architecture, Faculty of Forestry,
analyses direction finding in the city by associating Karadeniz Technical University, Trabzon, Turkey
Email address: ayavuz75@hotmail.com
it with the legibility of the city and urban images;
How to Cite this Article:
Yavuz, A., Ataoğlu, N.C. and Acar, H. (2020). The Identification of The City on The Legibility and Wayfinding Concepts: A Case of
Trabzon. Journal of Contemporary Urban Affairs, 4(2), 1-12. https://doi.org/10.25034/ijcua.2020.v4n2-1
 JOURNAL OF CONTEMPORARY URBAN AFFAIRS, 4(2), 1-12/ 2020
To do this, a variety of clues are used: smell, sound,
touch, gravity, and even magnetic fields and
stimulants, as well as visual sensations such as
colour, shape, motion, and light are utilized. For
urbanites who live in modern cities getting
completely lost is not a common situation. The
presence of others and special tools such as maps,
street numbers, plates, bus numbers help us to find
the way. The strategic ring of direction-finding
process is the environmental image, an image
where the individual generalizes the outside world
in his/her mind. This image is the product of both
immediate senses and past experiences, used to
interpret acquired information and to direct
movement.”
Bentley defines the legibility as the ability to read
and understand the environment for options.
Readable environments make it easy for people to
find their way. If people find out about the
environment and what is going on there, they
utilize the preferences and advantages of the
environment. The meaning of readable
environments is that people can obtain clear and
accurate images from it. Planners can control only
physical planning, permanent images change
only by user factor (Bentley, 1985; Yavuz, 2009).
According to Kaplan & Kaplan (1982); legibility is
an environmental feature that allows the person to
explore his surroundings without getting lost (Yavuz,
2009). According to Evans; legibility is to enable
people to understand the plan of a place and the
activities it involves (Carmona et al. 2003; Yavuz,
2009).
Sternberg explains legibility in terms of being easily
understandable, comprehensible and safe for
either residents or foreigners by creating effective
differences in the meaningful parts of the whole
and between these parts in urban planning
(Sternberg, 2000; Yavuz, 2009).
Direction finding is that individuals can find their
way to their targets without delaying or
experiencing undue worry. On the basis of the
concept, there is the concept of “spatial
orientation” which means that the individual
places himself / herself into the mental
representations of the environment [Sönmez &
Önder, 2015, cited from Peponis et al., (1990)]. One
of the most effective concepts in showing up and
progressing of direction finding and related studies
is the concept of legibility. Direction finding is
considered as a feature of readable
environments; the environments that provide the
necessary environmental information for the
direction-finding behaviour and which enable this
knowledge to be grasped and understood are
expressed as the readable environment. This is
possible with the fictionalization of the
environment with defined and distinct elements;
by means of comprehending the defined
Dr. Aysel Yavuz , Dr. Nihan Canbakal Ataoğlu and Dr. Habibe Acar
elements, it becomes easier to move to the target
and direction finding in that environment [Sönmez
& Önder, 2015, cited from Passini (1984 & 1996)].
We perceive the place and our location with the
questions of “Where am I, where am I going, and
how should I reach it”. Legibility and direction
finding are two concepts associated with each
other.
Lynch, in his book “Urban Image”, describes a
legible city as textures which are created with
definable elements and which can be
comprehended visually. At the same time, by
establishing relations with the urban images; he
defined a readable city as a whole texture of
which the regions, borders and roads can be easily
identified.
Lynch, in the continuity of the definitions of
legibility, mentions the importance of the
individual's ability to find his/her direction properly
and to move easily. According to Kevin Lynch, five
main elements for the mental image of a city and,
accordingly, for the legibility and direction finding
in the city can be defined as follows:
Roads: These can be streets, pedestrian roads,
public transport areas, canals and railways. These
elements are dominant in the image of many
people. People observe the city on the move and
perceive other environmental elements on these
roads and relate to the whole.
Edges: They function as a boundary between two
regions. Coasts, railways, development zone
borders and walls are examples of edge elements.
The edges may be walls that allows passing at
some of its points and that connect two regions,
and the connecting points connecting two
regions. The edge elements that hold the
generalized areas together, such as in the cities of
which the main lines are determined with water or
walls; are important elements that many people
use to find directions.
Regions: Regions are perceived as two-
dimensional areas; they form medium or large-
scale parts of the city. The observer feels as
entering into these areas psychologically. These
can be recognized by some of their common
determinant characters.
Nodal / Focal Points: Nodal points are strategic
points; they are intense focal points when traveling
from one point to another. In particular,
intersections, squares as meeting points can form
nodal points.
Signal elements: They create the point reference
source. They are often easily defined physical
formations that are not entered; like a building, a
sign plate, a shop, or a mountain. They may be
within the city or at a certain distance. In this way,
they symbolize a fixed direction for any practical
use; like the city's towers, golden domes or high
hills.
2
 JOURNAL OF CONTEMPORARY URBAN AFFAIRS, 4(2), 1-12/ 2020
The elements Lynch defines create the spatial
information for direction finding and legibility.
Legibility is designed with spatial guidance tools
that are integrated into the perception and
definition process of cities.
Spatial direction tools; with the elements Kevin
Lynch has defined, can be listed as follows:
 Legibility of circulating arteries
 Focal points
 Definable areas, squares
 Accessories, materials, colors, textures,
lighting
 Creating spaces with identity.
These items can be used as an effective design
tool in direction. But as cities, architectural spaces
grow and become more complex, visitors and
locals can find it difficult to find direction. For these
reasons, along with these elements, there is a need
for well-designed information and direction
graphics and landmarks of a universal nature for
those who speak different languages.
1.2. Information and Direction Design
As cities, architectural spaces grow and become
more complex, visitors and locals started to have
difficulty in finding directions; a need for
information boards, direction signs and landmarks
has arisen. There is a need for well-designed
information and direction graphics and landmarks
of a universal nature for those who speak different
languages. Information design and direction
design, as a sub-branch of graphic design, is a field
of expertise which is based on interdisciplinary
cooperation covering many disciplines such as
architectural design, interior design, urban design,
landscape design, industrial design,
communication, ergonomics, psychology and
computer technologies. Information and direction
designs, a sub-branch of graphic design that
makes information readable and accessible for all,
have been important components of urban
design and spatial design by creating spatial
image and corporate identity (Figure 1).
Figure 1. Interdisciplinary cooperation in information and
direction design.
Dr. Aysel Yavuz , Dr. Nihan Canbakal Ataoğlu and Dr. Habibe Acar
1.2.1. Information Design
Information design is a design field that organizes
and presents the information needed by its user in
a fast and understandable way. Making life easier,
making the time used efficiently and preventing
confusion are among its primary tasks. In this field,
which we can explain as the design of information,
the primary objective is to convey the information
in the simplest, clearest and most understandable
way to others. It is necessary for the user who is in
constant information bombardment to perceive
the environment more clearly (İlisulu, 2017).
Information design, which is one of the most basic
areas of graphic design, works on how to transfer
information better to the user. Graphic language,
especially in metropolitans, is preferred in terms of
being universal. It is the language that can be
accessed and understood by everyone from the
illiterate masses to the tourists who do not know the
local language of the city; the language that the
visual communication and graphic design would
recommend. Especially considering the urban life
with fast tempo, the fast transfer of this information
also becomes important. Simple but very well-
designed directions, signs that can be understood
by everyone, directional systems that can be
associated with each other and that can be
followed, consistent composition, colour and
typography are the elements that should be
designed (Taşçıoğlu & Aydın, 2015).
Highways, city entrance signs, airports, terminals,
campuses, Olympic facilities, shopping centres,
cultural centres, hospitals, exhibition and
fairgrounds are the places where information and
direction designs are used to find direction. In big
and crowded cities, symbols and pictograms used
in the international arena, information and
direction graphics are the tools that regulate social
relations and provide communication. The
pictogram or pictograph is a symbol representing
a furnishing, an object, a place, a function, a
concept by way of illustration (Figure 2).
In the context of environmental graphic design,
pictograms are used in direction and marking
sequences, especially in large and complex
spaces. Pictograms are used to direct and inform
people in many public spaces such as airports,
train stations, bus stations, shopping centres,
business centres, museums, hotels, hospitals etc.
Therefore, it is very important that the pictograms
can be easily understood by different human
masses (Dur, 2011).
3
 JOURNAL OF CONTEMPORARY URBAN AFFAIRS, 4(2), 1-12/ 2020
Figure 2. Symbolic expression with pictogram (URL-1,2017).
1.2.2. Direction Design
Direction design is an information design field that
aims to enable users to find their destination in
open or closed areas. The direction design consists
of visual designs intended to guide the user in a
certain direction. The marking design is a visual sign
indicating the point of arrival to the user. These
marks are the markers that specify a name and a
function of that place. For example, street
markings guide pedestrians, while guiding them,
also make it easy for them to read the
environment. Being able to see an important
building far away helps pedestrians know where
they are and whether they go in the right direction.
A marked street will be much easier to perceive,
read and familiar (Kolody, 2002; Yavuz, 2009).
Marks such as door writings, floor numbers, building
names etc. are within the scope of the marking
design. “The direction and marking design guides
the pedestrian or vehicle traffic in main entrances,
road junctions, arrival and exit points, by
combining graphic elements such as typography,
symbols and arrows (Gibson, 2009: 50, cited by:
Taşçıoğlu & Aydın, 2015).
The principles of a successful direction design can
be listed as follows(Ataoğlu, 2017):
 It should support user and visitor experience,
make finding directions easier.
 It should be guiding and explanatory for those
visiting for the first time.
 It should help at decision points.
 It should create a sense of space.
 It should create an open and consistent
information system.
 The route for reaching the point of destination
and leaving the space and its guidance should
also be designed.
 The message should be open and clear, should
be understood easily.
 It should give direction to the target and be
supportive at each stage.
 There should not be information and marking
confusion.
 It should support creating corporate identity,
brand value and image.
It should add aesthetic value to the space with its
colour, form, typeface and graphic designs.
Dr. Aysel Yavuz , Dr. Nihan Canbakal Ataoğlu and Dr. Habibe Acar
For information-direction design
Pictogram, typography, infographic, maps,
schema and graphs, I am here maps, direction
arrows, landmarks, entry signs are used.
2. FIELD SURVEY
In this study, the city of Trabzon will be evaluated
with the concepts of legibility and directability and
the direction and information designs over the
focal point, regions, edges, nodes, roads with
which Kevin Lynch have defined the imageable,
readable city. In particular, it aims to determine
the perceptions and direction attitudes of
university students for Trabzon city and the city
square. A survey was conducted to investigate the
spatial information elements and legibility of the
city of Trabzon.
In this framework, the aim of the study to analyse
the concept of legibility and direction designs that
intend to transform the cities into more
understandable spaces through the city of
Trabzon, the square and its surroundings and to
examine the problems of the city in this framework
and to make suggestions. Furthermore, to create
awareness for other cities with similar problems.
2.1. Study Area
Trabzon is a port city founded in the 7th century
B.C. as one of the Ionian colonies of the Miletus city
state on the Aegean coast of Anatolia (Aksoy,
1997). Trabzon has a colourful identity and
geographical location with the fact that it has the
largest port of the Eastern Black Sea, its
geographical and topographical position, hosting
many different cultures such as Persians, Romans,
Byzantines, Genoese and Ottomans, and the
reflection of this dynamic diversity in the space
(Figure 3-4).
Figure 3. Trabzon City Square and its surroundings (URL-2,2019).
4

(Yavuz, 2019)
KTU campus
Atatürk statue
(Yavuz, 2019)
Park Square
Old Town Hall
(Yavuz, 2019)
Square,
Atapark (Yavuz, 2019)
Figure 4. Images of the study field (Yavuz, 2019; Ataoğlu, 2019).
2.2. Participants
Universities are in interaction with the city where
they were founded in addition to their basic
functions such as education and training. This
expectation supports the revival of the city and it
goes beyond the its immediate environment,
contributes to and supports the development of its
region (Demirbaş et al., 2017). At the city central of
Trabzon, which is a university city, students coming
from different provinces of Turkey for education
purposes live with the residents. A total of 116
university students from the departments of
Landscape Architecture, Architecture and Interior
Architecture participated in this study to
determine the university students’ perception of
Trabzon city and city square and their direction
attitudes. The questionnaire form contained
questions about the determination
demographic data and the determination of the
JOURNAL OF CONTEMPORARY URBAN AFFAIRS, 4(2), 1-12/ 2020
Zağnos Valley
(Yavuz, 2019)
Square Park TS Emblem
(Ataoğlu, 2019)
Museum(Yavuz, 2019)
Hagia Sophia
(Ataoğlu, 2019)
Atatürk Statue
places forming an image in the minds of the users
in the square and its immediate surroundings. In
the questionnaire, there were 10 questions in total.
The questionnaire was conducted with students
randomly selected from different classes from
each of the three departments. The questionnaire
was completed in approximately 5 minutes with
each participant. The study was conducted in
April 2019. 75% of the participants were female
and 40% were between 16 and 20 years old. 28%
of the total sample was represented as Trabzon
residents. Although the majority of the students
were not from Trabzon, it was found that they
mastered on important components about
Trabzon during their stay (Table 1).
of
Dr. Aysel Yavuz , Dr. Nihan Canbakal Ataoğlu and Dr. Habibe Acar 5
 JOURNAL OF CONTEMPORARY URBAN AFFAIRS, 4(2), 1-12/ 2020

Table 1. Percentage (%) distribution of demographic serious deficiencies in the number and quality of
characteristics of participants.
directional signs (Table 2).
Percentage(%)
Table 2. Percentage (%) distribution of the participants’ data
Gender Male 75 related to direction finding and direction.
Female 25
Questions Yes % No %
Age 16 -20 40
S3.Can you easily find existing structures / 71 29
21-25 52
institutions?
26-30 8
S4.Can you find your way easily? 80 20
Landscape
S5.Have you ever lost your way? 31 69
Architecture 48
S7.Is it enough the number of direction 20 80
Department Architecture 35
signs?
Interior
Architecture 17 S8.Is the quality of the signboard that 22 78
where you are and where you want to go
1st grade 26
sufficient?
Class 2nd grade 34
3rd grade 24
4th grade 16 It was intended to evaluate whether Trabzon city
Neighborhood Kalkınma 40 centre and its immediate surroundings were
Konaklar 25
Bostancı 8
readable places; what their perceivable elements
Others 27 were; what the reference points related to the city
Where are you Trabzon 28 centre were; and the presence of elements,
from? Others 72 structures or places defining the city of Trabzon. In
How long have 1 year 21 this context, the answers of the participants
you been living 2 year 23
in Trabzon? 3 year 17 showed us that the people formed images that
4 year 13 were highly visually perceivable in the study area.
More than 5 years 26 54,3% answered the question “The place you
Where are you Home 52 indicate as address in the city square and its
staying? Dormitory 48
immediate surrounding when you want to meet a
friend” as the Square Park. 8,8% of the participants
Within the scope of the study, the surveyed
stated that they preferred the cafes in the
individuals were asked to make evaluations about
immediate area, 6,9% preferred Forum AVM as the
direction finding and direction for the city they live
meeting place. According to the answers, the
in and the city centre and its immediate
most preferred values were “Nodal point” with
surroundings. 29% of the participants stated that
55,2% and “landmark” with 31% amongst the five
they could not easily find the structures or
elements defining the city. These results show that
institutions in the city square and its immediate
the nodal points and landmark locations as the
surrounding, 20% stated that they had problems in
meeting point are more preferred, easily
finding direction, 69% stated that they have lost
remembered and easily accessible places (Table
the way for their destination and experienced
3).
delays. In addition, they stated that there were
Table 3. Percentage (%) distribution of the participants’ meeting point preferences.
S1. Town square and nearby
When you want to meet a friend, where do you meet?
Number of people Paths District Edges Nodes Landmark
Items percentage%
54,3 
Meydan Park
8,8 
Cafes
6,9 
Forum Mall
6,9 
Atatürk Statue
6,0 
Uzun Street
4,3 
Trabzonspor Emblem
3,4 
KTU (University)
2,6 
Konaklar District
1,7 
Point Stationery
1,7 
Dormitory
,9 
Arzum Market
,9 
Beşirli District
,9 
Lc Waikiki (Clothing Store)
,9 
Tanjant Taxi Stops
100,00 6,0 7,8 0 55,2 31,2
Total
Dr. Aysel Yavuz , Dr. Nihan Canbakal Ataoğlu and Dr. Habibe Acar 6
 JOURNAL OF CONTEMPORARY URBAN AFFAIRS, 4(2), 1-12/ 2020

36,2% of the participants answered the question
“The first place / object that comes to your mind in
the city square and its immediate surroundings” as
Atatürk statue, 15,5% as Trabzonspor emblem, 9,5%
as Uzun Street and 6% as cafes and restaurants.
According to the answers, the most preferred were
“landmark” values with 77,7%, and “Regions” with
17,4% amongst five elements defining the city.
These results show that the places and regions that
have a landmark feature are preferred more in the
city square, and that they are places that can
easily form an image in memory and be
remembered (Table 4).

Table 4. Percentage (%) distribution of place / object preferences of the participants that first comes to mind on the city square and
its close vicinity
S2. Town square and nearby
What is the first place / object to think
Number of people Paths District Edges Nodes Landmark
Items
percentage%
Atatürk Statue 36,2 

Trabzonspor Emblem 15,5 

Uzun Street 9,5 

Cafes-Restaurants 6,0 

Forum Mall 5,2 

Faculty of Architecture 3,4 

Tanjant taxi stops 2,6 

KTU (University) 2,6 

Atatürk Pavillion 2,6 

Atapark 1,8  

My home 1,7 

Sümela Monastery 1,7 

Square- Sitting Furnitures 1,7 

Boztepe 1,7 

Point Stationery ,9 

Arzum Market ,9 

Old Town Hall ,9 

Coast ,9 

Airport ,9 

Keloğlan Statue ,9 

Cephanelik Restaurant ,9 

Zağnos Valley ,9 

Kanuni Home ,9 

Total 100,00 9,5 17.4 0,9 2,6 77,7

37,1% of the participants answered the question
“Where would your reference point be when you
describe an address in the city square and its
immediate surrounding to someone?” as the
square park, 14,7% as Uzun Street, 8,6% as Atatürk
statue and 6,9% as KTÜ (Karadeniz Technical
University). According to the answers, the most
preferred values were “Nodal point” with 39,7%
and “landmark” with 29,3% amongst the five
elements defining the city. These results show that
the nodal points and places with a landmark
feature are mostly preferred related to reference
point preferences, that they are important for
direction in urban spaces as they are places that
form an image in the memory and can be easily
remembered (Table 5).

Dr. Aysel Yavuz , Dr. Nihan Canbakal Ataoğlu and Dr. Habibe Acar 7
 JOURNAL OF CONTEMPORARY URBAN AFFAIRS, 4(2), 1-12/ 2020

Table 5. Percentage (%) distribution for participants’ preference of reference point when describing an address in the city square
and its immediate surroundings.
S6. Town square and nearby
Where is your reference point when describing an address?
Number of people Paths District Edges Nodes Landmark
Items
percentage%
Square 37,1 
Uzun Street 14,7 
Atatürk Statue 8,6 
KTU (University) 6,9 
Cafes-Restaurants 6,1 
Sea 5,2 
Arzum Market 3,4 
Old Town Hall 2,6 
Taxi Stops 2,6 
Meydan Mosque 1,7 
Kalkınma District 1,7 
Trabzonspor Emblem 1,7 
Coast 1,7 
Atm 1,7 
Ziraat Bank 1,7 
Koton (Clothing store) ,9 
Forum Mall ,9 
Maraş Street ,9 
Total 100,00 15,6 8,6 6,9 39,7 29,3

25% of the participants answered the question
“What is the place/structure you mostly use in the
city square and its immediate surroundings?” as
Square park, 21,6% as Uzun Street, 13,8% as KTÜ
(Karadeniz Technical University), 9,5% as cafes and
restaurants. According to the answers, the most
preferred were “landmark” values with 40,8% and
“Regions” with 34,6% amongst the five elements
defining the city. These results showed that places
with a landmark value and regions were mostly
preferred with regards to the most used
place/structure in the city square (Table 6).

Table 6. Percentage (%) distribution of the mostly used place/structure preference of the participants in the city square and its
immediate surroundings.
S9. Town square and nearby
Your favourite place / structure
Number of people Paths District Edges Nodes Landmark
Items
percentage%
Meydan Park 25,0 

Uzun Street 21,6 

Faculty of Architecture 13,8 

Cafes- Restaurants 9,5 

Forum Mall 8,6 

KTU campus 7,8 

Dormitory 2,6 

Stationery 1,8 

Taxi Stops 1,7 

My Home ,9 

Ganita ,9 

Dr. Aysel Yavuz , Dr. Nihan Canbakal Ataoğlu and Dr. Habibe Acar 8
 JOURNAL OF CONTEMPORARY URBAN AFFAIRS, 4(2), 1-12/ 2020

Sanat Street ,9 

Kalkınma District ,9 

Gym ,9 

Koton (Clothing store) ,9 

Theater ,9 

Ayasofya Museum ,9 

Maraş Street ,9 

Total 100,00 23,4 34,6 0,0 1,7 40,8

Participants were asked to rank the place /
structure / elements that define Trabzon in order of
importance. In the rank of the 1st choices, the
Square Park with 24,1%, Uzungöl with 10,3% and
Sümela Monastery were prominent. Amongst the
second choices of the participants that define
Trabzon, Uzungöl with 12,9%, the Square Park with
11,2%, Sümela Monastery with 10,3% were
emphasized. In the 3rd choice of the participants,
the Square Park with 18,1%, KTÜ (Karadeniz
Technical University) with 10,3% and Sümela
Monastery with 9,5% were prominent. These results
showed that the Square Park was an important
nodal point, and that Sümela Monastery, Uzungöl,
KTÜ, Boztepe and Uzun Street were the most
important places/structures/elements that define
the city.

Table 7. The percentage (%) distribution of place / structure / item preferences that define Trabzon in order of importance of the
participants.

S10.Describe the Trabzon places / structure / elements (3 words in order of importance)

1st choice 2nd choice 3rd choice
Number of people Number of people Number of people
percentage% percentage% percentage%

Meydan Park 24,1 Uzungöl 12,9 Meydan Park 18,1

Uzungöl 10,3 Meydan Park 11,2 KTU (University) 10,3
Sümela Monastery 10,3 Sümela Monastery 10,3 Sümela Monastery 9,5
Uzun Street 8,6 Boztepe 10,3 Boztepe 9,5
KTU (University) 7,8 KTU (University) 9,5 Ayasofya Museum 7,8
Ayasofya Museum 6,0 Forum Mall 8,6 Uzungöl 6,9
Atatürk Pavillion 6,0 Atatürk Pavillion 6,0 Forum Mall 5,2
Trabzonspor 6,0 Uzun Street 5,2 Uzun Street 3,4
Boztepe 4,3 Ganita 3,4 Trabzonspor 3,4
Ganita 3,4 Ayasofya Museum 2,6 Beşirli Coatal district 2,6
Beşirli Coatal district 1,7 Beşirli Coatal District 2,6 Valleys 2,6
ForumMall 1,7 Stadium 1,7 Ganita 1,7
Stadium ,9 Kalkınma District 1,7 Atatürk Pavillion 1,7
Kalkınma District ,9 Valleys 1,7 Kalkınma District 1,7
Ortahisar District ,9 Sürmene, Çamburnu 1,7 Moloz 1,7
Valley ,9 Moloz ,9 Bread 1,7
Akçaabat ,9 Trabzonspor ,9 Nature 1,7
Sea ,9 Laz ,9 Urban Museum 1,7
Eyof Park ,9 Pide(A type of Bread) ,9 Konaklar District ,9
Sürmene, Çamburnu ,9 Stadium ,9 Çömlekçi District ,9
Of ,9 Fiddle ,9 Ortamahalle District ,9
Cephanelik Restaurant ,9 Nature ,9 Maraş Street ,9
Hamamizade ,9 Sea ,9 Plateaus ,9
Cemil Usta Restaurant ,9 Botanik Park ,9
Atatürk Statue ,9 High Buildings ,9
Kostaki Residence ,9 Altındere ,9
Kunduracılar Street ,9 Sea ,9
Cemil Usta Restaurant ,9

Whether there was a difference in answers given answers, the quantity (and strength) of the effect
to the questions in the questionnaire according to of the departmental differences were analysed
departments was evaluated with Crosstab. with ‘Cramer’s V’ test. The Cramer V values range
Amongst the questionnaire questions, it was from 0 to 1, the values between 0-30 (or 0-40)
observed that the differences of the departments indicate the presence of a weak relationship,
of the students were effective only on the values between 31-60 (or 41-70) indicate a
questions of S1, S2, S7, S8 and S9. Amongst the moderate relationship, and values between 61-
Dr. Aysel Yavuz , Dr. Nihan Canbakal Ataoğlu and Dr. Habibe Acar 9
 JOURNAL OF CONTEMPORARY URBAN AFFAIRS, 4(2), 1-12/ 2020

100 (or 71-100) indicate a strong relationship The majority of the participants, as Lynch stated, it
(Özbay, 2008). S1 Cramer V value was 50, S2 was shown that a city would be perceived and
Cramer V value was 57, S3 Cramer V value was 50 encoded to our minds with “roads, monuments,
and the effect of Landscape Architecture, regions, borders and signs”. When the elements of
Architecture and Interior Architecture Kevin Lynch were analysed for the city of Trabzon
departments on the answers to these questions in the light of the surveys, it can be explained as
was moderate. S7 Cramer V value was 23, S8 follows:
Cramer V value was 25, and these showed that  Roads: Uzun Street, where the urban
the effect on the answers to these questions was transportation is provided and which was
low according to the departments (Table 8). pedestrianised, Maraş Street and the Tanjant Road
where the vehicle passage is provided were
Table 8. The effect of departmental differences on the prominent as the dominant elements.
questions Chi-Square and Cramer V values.  Edges: For Trabzon, which is a sea city, the
Value df Asymptotic Kramer
coast, seaside and historic city walls constitute
Significance V
(2-sided) important points of reference as border elements.
S1 Pearson 59,704 38 ,014 ,507  Regions: The city square and the coastal region
Chi- in its surrounding and Karadeniz Technical
Square University campus, which is the residential area of
S2 Pearson ,566
Chi- 74,193 46 ,005 Trabzon, which is a university city, the shopping
Square centre region near its surroundings attract
S7 Pearson ,232 attention as the regions. Uzungöl, which is far from
Chi- 6,246 2 ,044 the city, makes its presence felt with its different
Square
S8 Pearson ,257 character.
Chi-  Nodal / Focal Points: The squares, which are
Square 7,676a 2 0,022 urban open spaces surrounded by buildings,
S9 Pearson ,499 where various activities take place, are important
Chi- 57,856a 36 ,012
Square triangulation points that give character and
identity to cities. In the city centre of Trabzon,
3. RESULTS AND SUGGESTIONS Atatürk Square Park has created a city image as a
Legibility is an important issue in our developing nodal and a reference point.
cities with rapid urbanization and population  Signal elements: There are many natural and
growth. In this study, which addressed this artificial elements marked as a landmark and
problem, a total of 116 university students from the attract attention in the deep-rooted history of
departments of Landscape Architecture, Trabzon, which is a coastal and port city. The most
Architecture and Interior Architecture participated prominent of these were Sumela Monastery,
to determine the university students’ perception of Ganita, Boztepe, Hagia Sophia, the statue of
Trabzon city and city square and their direction Atatürk in the Meydan Park and the TS emblem.
attitudes. In the field study, urban images, legibility, spatial
Within the scope of the study, the surveyed information gained through past experiences and
individuals were asked to make evaluations about the importance of direction and information
direction finding and direction for the city they live boards were noteworthy.
in and the city centre and its immediate In addition, they stated that there were serious
surroundings. deficiencies in the number and quality of
It was evaluated whether Trabzon city centre and directional signs (Figure 5).
its immediate surroundings were readable places;
what their perceivable elements were; what the
reference points related to the city centre were;
and the presence of elements, structures or places
defining the city of Trabzon.
In this context, the answers of the participants
showed us that the people formed images that
were highly visually perceivable in the study area.

These results show that the nodal points and places

with a landmark feature are mostly preferred
related to reference point preferences, that they
are important for direction in urban spaces as they
are places that form an image in the memory and Figure 5. Directional signs of study field, Trabzon city (Ataoğlu,
2019).
can be easily remembered.
Dr. Aysel Yavuz , Dr. Nihan Canbakal Ataoğlu and Dr. Habibe Acar 10
 JOURNAL OF CONTEMPORARY URBAN AFFAIRS, 4(2), 1-12/ 2020
Direction / information designs that encode a city
into our minds with “roads, monuments, regions,
borders and signs” should be more carefully
evaluated. Direction and information designs,
which are multidisciplinary fields that direct and
inform the user in the growing and complexifying
urban space and interior space, serve as a sub-
branch of graphic design in expressing the
character and identity of the space. City directors
should be aware of this discipline and follow
developments in order to adapt to the rhythm of
the rapidly changing world.
Acknowledgement
This research did not receive any specific grant
from funding agencies in the public, commercial,
or not-for-profit sectors.
Conflict of interests
The Authors declare no conflict of interest.
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Dr. Aysel Yavuz , Dr. Nihan Canbakal Ataoğlu and Dr. Habibe Acar 12
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Era la primera volta que l’Adela sentía aquest llenguatje; la primera
volta que sa imaginació acostumada á esplayarse ab los esplendors
de la riquesa, entreveya altres celistias que no tenian per única base’l
diner; los horitzons que en Félix li descubria, li eran completament
nous; era un pais verge, que jamay havia somniat que existis. Mes, en
un moment no s’enderrocan las obras aixecadas ab l’escarpra del
temps, y més quan aquestas sostenen ab més ó menos forsa un fondo
de rahó; per lo que la pobra noya, entremitj del nou oassis que
acabava de descubrir, hi sentia ressonar la veu del seu pare, dientli:

¡Il·lusions de poeta! ¡Cuentos de color de rosa! ¡Flors que s’esfullan

al cullirlas! ¡Papallonas que perden sas alas al agafarlas! La veritat
certa, positiva, única, son diners, diners y diners…

L’ Adela era bon tros criatura y estava massa enamorada, pera

resistir impunement la lluyta comensada entre’l cor y’l cap. Lo nú,
que feya estona li oprimia la gola, esclatá en un mitj comprimit
sanglot é incapacitada de parlar, deixá que dos enfilalls de llágrimas
rodolessen per sobre las esgroguehidas rosas de sas galtas.

—¿Plora? —esclamá fora de sí l’Arenas. ¿Llavors es que m’estima,

com jo l’estimo, ab la diferencia de que jo soch un infame, un
salvatje, un egoista, que sols penso ab la meua felicitat, sens atendre
á la de vosté, que está acostumada á lo que jo, infelis de mí, no puch
oferirli? Pero jo faré lo que dech: jo aniré á cercarli lo que no tinch y
es indispensable per la seua manera de ser. A Cienfuegos hi ha uns
germans de la mamá, que tractan ab los géneros de casa y cent
vegadas m’han proposat d’anarhi, assegurantme ferhi un capital en
pochs anys: prometim que vosté m’esperará, y jo aniré á ferlo.
Es impossible imaginar l’efecte que aquestas paraulas causaren á
l’Adela. Si trobantse en mitj de las més espantosas tenebras, hagués
vist baixar un ángel del cel, que, trencant la pahorosa negror, li
mostrés ab tot son esclat los resplandors de la gloria, no li hauria
pogut causar ni més bell, ni més rialler efecte que’l que ab sas
paraulas acabava de obrar l’Arenas en aquell cor tan inespert, com
enamorat.

L’ Adela, no pensá en enfermetats ni perills, ni tan sols en la facilitat

del oblit, sols comprengué que per un miracle inesperat, per un
prodigi del que no sabia donarse compte, se li trencava la argolla de
ferro que l’empresonava y oprimia. Aquell horitzont tancat, negre,
del cel de sos contrariats amors, se li obria en un moment, mostrantli
lo que fins allavors ho havia cregut impossible. ¡Realisar los somnis
de son cor enamorat, á gust del seu pare, que tant l’estimava; que per
véurela felissa, desitjava per ella un marit ab los dots de la fortuna…
Y l’Arenas podia esser rich… molt rich… tal volta tan com en Cuberta,
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Ab mágica rapidesa invadiren aquestos pensaments l’imaginació de

la noya, que, girantse de sopte envers l’Arenas y agafant
inconscienment entre sas duas mans, la que aquest portava cayguda
al seu costat, esclamá ab indescriptible alegria:

—¡Vagi! ¡vagi! y torni rich pera casarse ab mí y jo li prometo —afegí

redressantse, ab una solemnitat que contrastava ab l’infantil alegria
ab que pronunciá sas primeras paraulas— que jo l’esperaré soltera
cinch anys, deu, vint, tota ma vida, fins que vosté torni pera
portarme á l’altar, á cumplir lo jurament que d’esperarlo y casarme
ab vosté li faig en aquest moment.

L’ Arenas sentí, tan com la promesa de l’Adela, lo contacte d’aquellas

mans finas, delicadas, ardorosas, que apassionadament estrenyian la
seua gelada per la emoció, y un estremiment eléctrich recorregué tots
los seus nervis, refluhint al mitj de son cor, quals bategadas
aixecavan per dessobre de son pit la brunyida petxera de piqué que
ab sa blancor feya més resaltar lo brill de sos ulls negres que,
clavantse en los de la Adela, foren per abdós com lo xoch d’una
corrent magnética.

L’ Arenas, perdé de vista tot lo que’l rodejava: sas orellas s’aislaren

dels remors de las conversas y riallas, que’s sentian devora seu, y
pareixentli los escassos pams de terra que en aquells moments
trepitxava las dilatadas boscurias del paradís, ahont Adam, sol ab sa
enamorada Eva, gosá las delitansas dels primers amors que niaren á
l’univers, aixecá fins á sos llavis una de las blancas mans de la Adela
é imprimí un bés foll, apassionat, en lo que semblá que hi depositava
tota la seua ánima. Las ombras del capvespre, que s’estenian
melangiosament per serras y clotadas, aparegueren en aquell
moment á sos ulls ab més espléndits colors que’ls virolats celatjes de
la aubada: tan sols en mitj d’aquell esclat d’enlluhernadoras tintas, li
semblá divisar en lo cim d’un núvol negre, la bella fesomia de sa
tendra mare, trista, trista com la d’una Dolorosa de Paul Delaroche…
 La Montserrat.
Era ja fosca nit quan los escursionistas arribaren á Larrua. L’
animació distava molt de tenir l’aspecte bulliciós de la surtida; los
més venian cansats, desitjosos de treures la pols, de trobarse á casa
seua, y sobre tot, de véures sols ab los de sa familia pera cambiar
impresions y comentar alguna excentricitat descoberta en algun
amich ó amiga entre las francas espansions de la berenada. Eran
pocas las noyas á las que la realitat de la diversió, hagués fet gosar lo
que al anarhi havian presumit, y més d’una tornava ab una decepció
amorosa ó ab una renyina, deguda á qualque galanteria, que’ls gelos
presentavan á sos ulls ab los negres colors de una infidelitat. Los
joves, esceptuant los qui en la comitiva hi tenian á la dama de sos
pensaments, venian també desitjosos de trobarse deslligats de las
trabas y cumpliments, que la presencia de las senyoras imposa.

En Cuberta que, acostumat á América á fer vida de negoci, poch ó

casi cap tracte havia conreuat ab senyoras y senyoretas, aquella
tarde, en que havia tingut de esforsarse en ésser amable ab tothom, y
en trobar una frase adecuada á cada mamá y á cada filla, que més ó
menos afectuosament li havian dedicat sos obsequis, tenia majors
desitjos de trobarse ab completa llibertat; per lo que al invitarlo D.
Joaquim, pera que’s quedés á sopar ab la familia, D. Francisco
s’escusá, demanantli com especial mercé que’l deixés anar á son
allotjament, ahont se feya compte de pendre una sopa y anarsen á
descansar. En Cuberta esplayá tant manifestament la seua resolució
que, contra la costum que’s venia seguint ab ell, D. Joaquim se
resigná á no acompanyarlo á la fonda aquella nit, y á D. Francisco li
paregué que’s treya un pes de sobre, quan després d’haver sentit
tancar darrera seu lo macís reixat de ferro del luxós chalet de la
familia Bach, se trobá sol y completament á las foscas, á l’estret
carrer dels Avellaners.

Com lo calendari marcava que era época de lluna, apesar de que

aquesta no fos aquella nit visible fins á las deu, los fanals no s’havian
encés, lo que entussiasmá al bon senyor, pensant que la falta de llum
lo lliuraria de que’l vejés algun dels moltíssims forasters que en lo
poch temps de estar á Larrua se disputavan pera brindarli la seua
amistat y trobantlo sol, s’empenyessen en ferli companyia. Gosant,
donchs, de la dolsa satisfacció de sa llibertat, acabá lo carrer dels
Avellaners y entrá en la espayosa plassa de la Esglesia, que apesar de
no tenir major il·luminació que la dels carrers que á ella
desembocavan, tenia la vesllum que li feyan los raigs dels encesos
quinqués de petroli, de las botigas del barber, de la revenderia, del
sastre, de la fleca, del apotecari y del sabater, encara obertas. En
alguna, s’hi veya en lo llindar homes ó donas que gronxantse ab la
cadira apoyada en la paret, prenian la fresca tot conversant; en altres
la soletat en que estavan, feya presumir que á la rebotiga s’hi feya la
quotidiana feyna del sopar. En Cuberta, atravessá la plassa á la
esbiaxada y se detingué en mitj d’ella al sentir tocar tres quarts de
vuyt en lo relotje de la Parroquia. Lo só de la campana li feu aixecar
lo cap y fixar la vista en la alterosa y ennegrida fatxada de l’esglesia,
per quina xica portella entravan en aquell instant una dona del poble
y una noya d’uns deu ó dotze anys. Sens saber per qué, en Cuberta
sentí com desitjos de veure’l temple parroquial, al que no havia
entrat encara, y en lloch de seguir envers lo carrer de Sant Antoni,
s’encaminá de dret, cap á la portella que acabava de tancarse darrera
de las duas donas.

L’ esglesia estava poch més il·luminada que’ls carrers que la

voltavan. A palpentas tenia de buscarse la pica de l’aygua beneyta,
situada en la part esquerra de la entrada; puig sols després de
haverse internat fins á una quarta part de la nau, no donavan un xich
de llum los dos ciris que cremavan enfront d’una Verge del Roser,
posada en un petit altaret que seguia al de Sant Joan, col·locat á la
part del evangeli.

Devant del encés altar, l’escolá major resava las últimas denas del
Rosari, ab lo reduhit acompanyament de deu ó dotze donas, alguna
criatura y un sol home, que per sas encorvadas espatllas, se veya
clarament lo feix d’anys que havia fer torce sa espina dorsal. Al esser
aprop del altar major, se deixava veure que al temple hi havia més
il·luminació de la que de primer moment se descubria, com era la de
una llántia que cremava devant d’un alt Sant Crist, col·locat devora
de la porta xica de l’esglesia, y la de una altra que, espeternegant per
falta d’oli, donava sas darreras guspiras, penjada á la esquerra del
altar del Santíssim, enclavat en la part de la nau, que sustentava la
esbelta y esculpturada trona de noguera, que acusava la má d’obra de
las darrerias del sigle XVII.

Don Francisco arribá fins al peu del presbiteri ab lo barret á la má;

passejá indiferentment la vista per l’hermós retaule del altar major
d’estil gótich, dividit en diferents quadros, que la falta de llum,
impedia veure los assumptos que representavan; doná una segona
mirada als altars de las parets laterals, mostruari de diversas épocas
y més diferents estils; y ja satisfeta sa curiositat, puig que no eran las
aficions artísticas y arquitectónicas, las que més predominavan en
éll, se dirigí envers la porta, per la que feya pochs moments acabava
d’entrar. Mes al ésser á la pica de l’aygua beneyta, una estranya
impressió lo feu detenir en ella.

Acabat lo Rosari, l’escolá major havia comensat lo res de la Lletanía

Lauretana, á la que las pocas personas congregadas al peu del altar,
contestavan ab l’obligada repetició de ¡Ora pro nobis! ¡Ora pro
nobis!

Lo ritme monótono y precipitat d’eixa pregaria, que D. Francisco no

havia tornat á sentir desde que, noy encara, havia sortit del port de
Rosas, portá en un moment á sa imaginació un mon de recorts.

Aquella esglesia fosca, casi solitaria, tenia molts punts de semblansa

ab la que la sua mare’l portava de petit en las vetllas d’hivern, pera
fer los resos que en aquell instant arribavan á sas orellas, ab lo
mateix llenguatje, ab la mateixa cantarella y forma de trenta anys
enrera. Fins las veus li semblavan las mateixas; fins l’escolá tenia la
veu enrrogullada y la dicció ininteligible del escolá que resava’l
Rosari á l’esglesia del seu poble.

Don Francisco sentí que una mena d’agredols invadia son cor de
trenta vuyt anys, y desitjós de conservarli per una estona més, torná
enrera y se dirigí envers un banch de fusta, col·locat entre dos altars
de la paret de la dreta, ahont s’assentá y clogué’ls ulls pera que la
il·lusió fos més acabada. Allavors, entre’l ritme del Ora pro nobis, li
semblá veure las vellas parets de la casa, ahont havia nascut; lo llit al
que’l seu avi l’havia acompanyat pera besar la má al cadavre del seu
pare; la fesomia trista de sa bona mare vestida de negre; més tart las
taulas de la escola; las caras rodonas, vermellas y alegres dels
companys de la seua edat; las berenadas á la vinya; los cups plens de
rahim; las revolcadas y tomballons á la sorra de la platja, cremosa de
l’escalfor del sol; los capbussons dins las onadas, los crits dels
pescadors al treure las xarxas; després un barco de vela mar endins;
després… després en Cuberta, no pogué continuar la peregrinació de
sos recorts: lo sonido d’una improvisació d’acorts arpegiats en un
armonium, li feu obrir los ulls y tornar a la realitat de sa existencia
actual. En lo breu temps que sa imaginació havia navegat per los
mars dels recorts de sa infantesa, los resos havian finit y l’esglesia
havia quedat completament deserta. Sols en lo chor s’hi veya un llum
y se sentian acompanyadas per l’armonium las primeras notas del
Ave María de Gounod, cantadas á mitja forsa per una veu de mezzo
soprano poch voluminosa, pero agradablement timbrada y d’una
dolsor y ductilitat incomparables. Als pochs moments D. Francisco
pogué convencers que la persona que cantava en lo chor, hi era sols
per ensajar, ja que al ésser al mi del Gratia plena, allargant la nota,
trencava la frase, per mancarli fiatto pe’l la, si, la, del compás segon.
La veu repetí per tres ó quatre voltas l’ensaig y ja segura de la
correcció, seguí ab facilitat fins al re, si, del Sancta, quinas notas no li
sortian prou lligadas; corretjit altra volta’l defecte, seguí sens
interrupció, fins al si del Ora mortis, que repetí també duas ó tres
vegadas, per semblarli, sens dubte, que li eixia massa oberta la nota.
Després altre colp ressonaren per una estona los acorts arpegiats y
tot seguit se sentí lo soroll de la tapa cayent sobre’l teclat, lo remor
d’una cadira al rascar demunt dels rajols y’s vejé la claror de la llum
passant desde’l centre del chor á la part esquerra, y després d’un
instant de desapareixer, tornar á reeixir, dalt del tram de grahons
d’una escala, que la foscor de la esglesia no li havia deixat veure fins
aquell instant, al costat de la capella, que s’esqueya devant per
devant del lloch ahont estava assegut en Cuberta.

Ab tota facilitat pogué, donchs, en aquell moment contemplar á la

persona, que durant la mitja hora que havia durat l’ensaig, havia
lluytat per distingir entre’ls reixats de pedra de la barana del chor. Lo
tros de ciri encés que en un candeler de llautó ennegrit pel temps
portava á la má dreta y qual flama cubria ab l’esquerra pera privar de
que’l vent li apagués, deixava en la fosca á la part inferior de la figura,
il·luminant de plé, un cap de noya d’una bellesa ideal, extraordinaria,
com no recordava en Cuberta haver vist igual en cap dels pahissos
que havia recorregut en sos viatjes; tal era la perfecció de líneas de sa
cara, la brillantor que eixia de sos ulls grossos y espressius y lo
magnífich cabell ros que, graciosament ondejat, queya en petits
rinxets dessobre de son nevat front.

Quan baixat lo darrer grahó de la escala, tragué d’enfront del ciri, la

má que’l preservava de l’ayre, los raigs de llum, estenentse per son
entorn, deixaren veure la figura vestida de negre, alta, esbelta y
agraciada, de una joveneta d’uns vint á vint y dos anys que, caminant
ab la magestat d’una reyna, atravessá l’esglesia, s’ajonollá un
moment devant del Sant Crist del costat de la porta xica y,
retrocedint altre volta fins á ésser davant del presbiteri, pujá los tres
esgrahons de pedra, y fent una reverent inclinació enfront del altar
major, sortí per la porta de la sagristia.
Don Francisco la vejé desapareixer com una visió sobrenatural, sense
sapiguer donarse compte de la impressió que acabava de soptarlo.
Home rich y espléndit, si era la primera volta que tornava al seu pais,
no ho era de sa tornada á Europa: dos hiverns seguits havia estat á
París y á Londres, ahont hi havia sentit los refilets de la Nilson y las
passadas de rossinyol de la Patti, y no obstant, las veus d’aquellas
notabilitats artísticas emesas entremitg de las coloraynas de las
bambalinas, dels raigs potents de la llum artificial, dels reflexos
enlluernadors de perlas y brillants escampats arreu en palcos y
butacas, si be l’havian deleytat, no li havian arrivat al cor, com las
notas d’aquell ensaig á mitja veu, sentit entre las foscors d’una
esglesia de poble.

En Cuberta no havia tornat en sí de la seua impressió y estava encara

preguntantse com era possible que en los dias que feya de sa estada á
Larrua ni l’hagués vista en cap part ni hagués sentit parlar d’aquella
noya, quan vejé que la porta per la qual havia desaparescut tornava á
obrirse; sols que en lloch de la hermosa donzella, n’eixia mitg
fregantse’ls ulls, que sens dubte fins á aquell moment havian estat
tancats baix la dolsa pressió de la son, un bordegás de catorse ó
quinse anys, que ab un feix de claus á la má tancá l’altar del
Santíssim, doná de correguda una mirada als recons de l’esglesia y,
dirigintse á en Cuberta que permaneixia encara dret en mitj del
temple, li digué sacsejant las claus, ab malhumorada expresió:

—¡Vaja, que ja es hora de tancar!

Don Francisco, tot seguint al xicot, que s’havia posat á caminar

devant d’ell, se tragué de sa bossa de malla de plata una pesseta
isabelina y, posantla á la má del bordegás, que ja aguantava oberta la
portella de la entrada de la plassa, li digué:

—Escolta: ¿Quí es aquesta noya, que cantava en lo chor y que s’ha

ficat á la sagristia?

Lo xicot tot estrenyent en sa má la moneda que acabava de rebre,

entre ensomniat y sorprés, mirá de dalt á baix la sapada figura del
americá de Rosas y empenyentlo suaument cap en fora, exclamá tot
tancantli la porta:

—¿Qui es?… ¡Ay ay! ¡La Montserrat!

 Mossen Jaume.
La fatxada principal de l’esglesia de Larrua tenia per un costat lo
carrer dels Trinitaris, compost de la llarga paret de la Parroquia y de
set ó vuyt casas ab sas corresponents botigas destinadas á la venda
de robas y objectes de quincalla, y per l’altra part un antiquíssim
edifici de baixos y primer pis, ab duas reixas corresponents á la
planta baixa y un hort enmurallat d’uns xeixanta pams de longitut,
que s’escorría al llarch del carrer de las Rosas, tenint son acabament
en lo del Avellaners. Aquest edifici que no perteneixía á cap estil
determinat, ja que cada obertura acusava la construcció d’una época
distinta, vejentse al costat d’una finestra que despertava recorts del
sigle XVI, un balcó obert dos pams més amunt ab barana de ferros
caragolats y macissos poms de llautó, que transportavan á la
decayguda época de Carlos IV, anomalía que també’s deixava veure
entre’ls esculturals finestrals que donavan á la plassa y las mesquinas
reixas del carrer de las Rosas, estava destinat pera casa rectoral y era
indubtable que, segons los diners y las necessitats de cada rector
s’havia anat aixamplant y recomponent, sens atendre més que al
desembrás y comoditat de la part interna. Per dos grahons de pedra
se pujava al macís cancell, que s’obría pera donar pas á una ampla
sala de rebre, sens altre adorno que un deteriorat quadro de la
Anunciació y un banch de fusta que, per lo molt escarbotat del
respatller y brassos, se deixava veure lo tranquilament que’ls corchs
hi feyan sa niuhada.
A la dreta y enfront d’una escala de pedra, per la que’s pujava á las
cambras del pis primer, hi havia lo quarto del despaig de espedients
parroquials, habitualment ocupat per lo vicari. La part de darrera se
componía d’un espayós menjador ab finestra y sortida al hort, cuyna
á la dreta y dos quartos á la esquerra. Lo més inmediat á la porta
d’entrada, a més de servir pera los de la casa de passadís pera
comunicar ab la sagristía, feya també de depósit de fustas, de banchs,
candeleros y dossers mitj romputs, que espolsats y arregladets,
resistían encara en peu algunas horas en dias de grans solemnitats
religiosas.

Lo del costat era lo despaig particular ó mellor dit, sala d’estudi y de

rebre de Mossen Jaume Villadó, rector feya divuyt anys, del poble de
Larrua. Aquesta cambra, que abundosament rebia la llum per un
gran finestral ab reixa, per quins barrots de ferro s’enfilava fent
primors d’esbeltesa una fornida passionera del hort, era de parets
emblanquinadas, trespol ab revoltons y enrajolat de llosas, sens més
adornos que un gran quadro d’estil gótich de Jesús crucificat, del
que’l temps acabava d’esborrar las figuras de la Verge, de Sant Joan y
de la Magdalena; una llibrería de moderna construcció y altra que
portava sa honorable vellesa escrita en sos prestatjes sense vidres y
en las moltas recomposicions fetas en sos muntants de fusta de
cirerer. Un sofá de boga, colocat dessota del quadro, quatre cadiras
de igual classe, una taula escriptori y un antich silló de baqueta
clavetejat, era lo mobiliari del quarto en que habitualment passava
Mossen Jaume las horas que sos debers y l’afició al conreu del seu
hort lo deixavan en llibertat.
Lo rector de Larrua era lo primogénit d’una distingida familia de
Barcelona, á la que la guerra carlista havia deixat ab més deutes que
diners pera sostenir los pergamins de sos antepassats. Tal volta si,
com era voluntat de la familia, hagués seguit la carrera d’advocat al
ésser mort lo seu pare que havia passat la vida ficat dins la política
activa, hauría pogut ab mellors condicions restablir algun xich
l’hipotecat patrimoni; pero Mossen Jaume, que desde criatura havia
mostrat decidida vocació pera la carrera eclesiástica, l’abrassá
definitivament als divuyt anys, sens preocuparse poch ni molt del
mellor profit dels seus interessos, recullint á la mort de la seua mare
una migrada herencia que voluntariament partí ab sa germana
Teresa, puig que aquesta havia ja al casarse cobrat lo seu dot.

Per altra part Mossen Jaume, apesar d’haver nascut de una familia
rica y poguér firmar de Villadó, de Llinás y de Mascorp, era senzill
com un modest menestral; la seua vocació religiosa y un decidit
entussiasme per l’estudi d’humanitats y escorcollament de las obras
dels autors clássichs llatins, l’havia fet mirar ab certa indiferencia tot
lo que’s relacionava ab los bens materials. Son luxo, en sa jovenesa
havia estat en la seua biblioteca, ahont entre diversas edicions de la
Biblia, de la Summa de Sant Tomás y de las obras de Sant Agustí, s’hi
veyan escampadas, ab verdadera profusió, las creacions d’Horaci y
de Virgili, las obras filosóficas de Aristóteles, las del sever Tito Livi,
las del retórich Quintiliá; y en fí, tot lo brillant estol de las lletras
llatinas, en tota la riquesa de sas diversas manifestacions. Mes feya
deu ó dotze anys que eixas obras, delectansa de sa pensa jovenil, no
s’havian tret del prestatje de sa vella llibrería; la obra del immortal
Pare Kempis, las meditacions del Pare Lapuente y’l Croisset,
escampadas sobre sa taula d’escriure, eran las únicas que gosavan lo
privilegi d’ésser llegidas per Mossen Jaume; las primeras, pera
confortació de son esperit, las altras pera revivar son zel, que en sa
delicada susceptibilitat, creya sempre esmortuhit, en pró de las
ovellas á sa custodia encomanadas ó pera cercar material pera
amenisar ab la historia dels Sants, que l’esglesia conmemora durant
la setmana, la plática que endressava als fidels los dias festius. A las
obras dels sabis seglars, es á dir, las purament literarias ó filosóficas,
feya alguns anys que’l bon rector de Larrua’ls havia declarat poch
menos que la guerra; y si no havia resolt ferne un foch era perque
apesar seu las estimava; cada una li enclohía’l recort d’una diferenta
época de sa existencia; totas havian estat sas amigas; ab totas havia
disfrutat y viscut; li semblava que á cada una li debia un tros de son
pensament y fins un bossí de son cor, per aixó no havia determinat sa
exterminació, pero deixava indiferentment que’ls corchs y la pols las
roseguessin. ¿Qué n’havia tret de la ciencia, de las máximas, de la
sabiduría ab ellas adquirida, si no havia sapigut trobar paraulas y
rahons de prou virtut, de prou eficacia pera dissuadir á duas
dotzenas de visionaris de Larrua que se’ls havian pujat al cervell las
doctrinas de Allan Kardech, creyentse com article de fé los falsos
prodigis atribuhits al mon dels esperits? Mossen Jaume comprenía
ab més ó menos pena de son cor cristiá, que hi haguessen esperitistas
en la vella Alemania, en la Inglaterra, en los Estats-Units, fins en sa
estimada patria Barcelona; pero ¡que n’hi haguessin á Larrua, y que
hagués brotat aquesta filoxera d’ánimas essenthi ell de Pastor, y que
no sols anás aumentant lo número, si no que’l error invadís lo camp
femení arrivant fins á las mares de familia!… Pera’l bon rector aixó
era’l máxim de la desesperació; los ateos, los lliure-pensadors, que de
tot desgraciadament hi havia en aquell reconet de costa catalana, li
inspiravan la pena que causa al metje la vista del malalt incurable;
pero aquestos, á més d’ésser pochs eran pera las donas objecte de
repulsió sas doctrinas materialistas despossehidas de tota idea
d’ultra tomba; la negació desapiadada de las hermosas y
consoladoras veritats del cristianisme, distava molt de fer adeptes
entre ellas; pero l’esperitisme, ab sos punts de maravellós, ab sas
máximas de caritat y amor al próxim, que tantas y tantas voltas
havian sentit en la mateixa doctrina cristiana, no’ls inspirava recels;
l’huracá seguia sa devastadora carrera y l’apesarat rector devant de la
inutilitat de las seuas tentativas y de lo poch ó gens profitosa que
havia estat per ell l’estudi de la ciencia terrena, fondament
descoratjat de las forsas de la seua inteligencia, ab pany y clau tancá
per sempre més los llibres d’aquells ingenis que tantas cosas sabian,
que tan gran coneixement entranyavan de la humanitat, que tantas
reglas de conducta donavan als pobles y ab tants concells il·lustravan
als Céssars; y que á ell no havian sapigut donarli de sa ciencia de la
vida humana una llum, un camí, un remey, pera acabar ab aquella
pérdua d’ovellas que tan fondament l’aclaparava.

Sa resolució estava presa: desde aquell moment fins procuraría

oblidar lo que ab ells havia aprés. Jesús havia dit: Fins que vos
tornareu com aquest infant, no entrareu en lo regne del cel; donchs
ell aprofitaría la llissó; la inutilitat de sos afanys li havia fet veure la
seua insuficiencia, tal volta la seua superbia: s’humiliaría més,
abrassaría sa creu y resignadament la portaría. Y ab l’ajuda de Deu,
que tot ho pot, lo temps que tot ho acaba y lo decahiment produhit
per una anémia nerviosa, complicada ab los comensaments d’una
enfermetat de cor, Mossen Jaume lográ per fi deixar de atormentarse
com ho havia fet fins allavoras, y sens desistir en la tasca de retornar
á la llum evangélica á aquellas ánimas esgarriadas, se conformá ab la
voluntat del Senyor que á aytals probas lo sometia y com en los
primers anys del exercici de son ministeri, cercá esbarjo á son esperit
en ésser conhort dels pobres, de sos feligresos y de las duas únicas
brancas que li restavan de tota sa familia: la seua germana y sa
nevoda Montserrat, á la qui estimava com á un pare; y tal volta ab
més tendresa desde que per la mort de la seua mare la veya sens més
amparo que’l de un pobre sacerdot sense salut.

Tal era la personalitat moral, plena de zel, de bondat y senzillesa

cristiana del rector de Larrua, en qual despaig aném á introduhir als
nostres llegidors quinze dias després de la vetlla en que D. Francisco
Cuberta havia conegut en l’esglesia parroquial, á la seua nevoda.

Feya llarga estona que Mossen Jaume havia enviat á la criada á

cercar en las habitacions del pis primer á la Montserrat, quan
aquesta entrá en lo quarto. La llum del sol, passant ab tota sa forsa
per la oberta finestra, no disminuhía en res la esculptural bellesa que
havia tant sorprés al pretengut americano. Ab l’esclat de la claror
brillava ab major forsa lo blau fosch, com lo d’una nit estrellada, de
sos ulls, moventse plens de vida, devall de sas parpellas vorejadas de
llarguíssimas pestanyas; com adquiría major reals la puresa de sas
líneas de estátua grega y la esplendent bellesa de sa cabellera,
ondejada y rossa, com la d’un infant de las fredas terras del Nort. Sa
figura de vestal y una distinció de princesa, que pareixía que
s’exhalava de son caminar, de sos moviments y fins de son
senzillíssim trajo de dol, haurían fet de la Montserrat la
personificació á la terra de la hermosura ab que’ns pintan al arcángel
Sant Gabriel, si un xich de tinta carminosa hagués envermellit sas
galtas completament esgroguehidas, y hagués estat possible
arrebassar de tota sa persona cert ayre de desdenyosa altivesa, que
en determinats moments enduria la espressió de son rostre.

Mes en honra á la veritat devém dir que las faccions de la noya

perderen sa estirada regidés, al dir afectuosament á Mossen Jaume:

—L’ he fet esperar sense volguer… Tenia á dalt á Da. Rosalía que no
acabava may de despedirse… Per fí ja n’estich lliure. ¿Qué’m vol?

Feya un bon rato que Mossen Jaume tenia devant dels ulls una carta
que ja no llegía y que deixá demunt la taula pera dir á la seua nevoda
ab certa solemnitat que no passá desapercebuda á la noya:

—Mira, acóstat aquella cadira baixeta y vina aquí… aprop meu…

Tením de parlar llarga estona y de cosas bon xich importants…
molt… molt…

—Casi m’espantaría ab aquesta serietat…

Mossen Jaume endolsí encara més son accent y agafant entre’ls seus
dits ossosos la aristocrática má de la Montserrat, digué colpejantli
carinyosament:

—Alguna volta ¿t’has detingut á pensar en la soletat en que restarás,

lo jorn que jo mori?

—Vaja, vaja, oncle, ¡quínas cosas de dir! Potser me moriré jo primer

que vosté…
Lo rector de Larrua deixá la má de la noya y aixecant las seuas á
l’alsada de sos ulls, aixamplá los dits, posant de manifest
l’encreuament de venas y nervis, que’s deixava veure per dessota de
sa pell groga y enmorenida y que per sa trasparencia pareixía feta
aposta per un estudi anatómich, y digué:

—No hi ha que ferse il·lusions filla; jo tinch la mateixa malaltía que

matá á la teua mare, que jovenets se’n endugué á los dos altres
germans meus… que los darrers anys de la vida de la teua pobre avia,
m’obligá á deixarla sola en sa vellesa, pera portar pels mars aquesta
feble naturalesa meua, que no ha pogut enrobustirse may… Puch
viure dos anys, quatre, potser arrivi á sis ó set… pero l’enemich lo
porto á dins y ab més motius que’ls que están sans, tinch d’estar ab la
llántia encesa com las donzellas de que’ns parlan las sagradas
escripturas… ¡Vaja, no posis aquesta cara tan fosca! Si no vull
entristirte… ¡Al contrari! Vull parlarte d’una gran mercé que Deu te
vol fer… Res, lo que jo ’t deya, que Nostre Senyor nos estima molt
més de lo que nosaltres ab lo nostre pobre enteniment podém
compendre; y vetaquí que quan jo tant m’amohinava pensant ab la
soletat en que quedarías lo jorn que jo ’t faltés, la Providencia ha
volgut que vingués á Larrua un ricatxo d’América, una mena de
nabab que tothom se disputa… Mira; fá deu dias que jo ni sabia que
fos al poble, pero apenas m’he volgut enterar, prou me n’han contat
de cosas… ¡Més ne sabessen!… Donchs es lo cás que aquest senyor,
que diuhen que es molt bona persona y no sols la gent d’aquí; jo no
t’he volgut parlar que no sapigués lo terreno que trepitjo… Quan t’he
cridat acabava de rebre aquesta carta del rector de Rosas, la població
d’hont ell es fill y ahont hi té encara familia… Los informes no poden
ésser mellors… Aixó no vol dir que jo no cerqui també la manera de
tenir bonas referencias d’América… ¡Oh, devegadas passan unas
cosas ab la gent que vé de lluny!… Y es precís mirarho molt… Los
diners no es pas lo primer que s’ha de cercar en un home…

—Pero oncle —va interrompre la noya admirada de la animació de

Mossen Jaume— á nosaltres…

—¡Déixam parlar, dona! Després ja hi dirás tú lo teu parer! Per ço

t’ho consulto; t’ho parlo. Jo no vull ferte pressió de cap mena… ¡Deu
me’n guard! Pero la cosa es massa gran perque no m’hagi omplert
d’agrahiment á Deu, al veure la consolació que m’envia de poguerte
deixar colocada ¡y de quina manera! També ho he escrit á Barcelona,
á en Valls, lo teu tutor, que també, li apar, una gran sort pera tú…

—Pero’s pot sapiguer…

—Ja veurás, ja veurás; es que aquest bon senyor que, segons m’han
contat, tots los pares de la colonia forastera se’l disputan per las
seuas fillas, los ha donat mitja volta á l’esquerra y ha vingut á
cercarte á tú. A tú, la més pobreta de totas; ¡á tú que ningú ’t veu en
forat ni en finestra! Res ¡com lo del qüento de la Cendrereta! ó
mellor dit, quan Nostre Senyor té una cosa destinada…

—Pero oncle, si jo…

—Si sabesses —prosseguí Mossen Jaume sens fer esment de las

interrupcions de la noya— quantas voltas després de lo d’en Felip
¡que Deu lo fassa bó! m’ha preocupat lo teu pervindre!… Perque’ls
casaments cada dia son més difícils… y á tú, jo ’t conech prou pera
sapiguer que no t’hauría satisfet un qualsevulla! ¡Y ab lo teu modo de