Human communication has evolved through countless stages, employing a wide range of means and practices. Undoubtedly, writing—regardless of the transformations it underwent—served as a landmark in the critical process of substantiating information, a process fundamental to humanity. In the modern era, around the mid-19th century, written correspondence gained a new medium that would radically reshape the practice of sending written messages: the postcard. The unique nature of this medium lies in its printed image, which functions as an accompanying "gift" to the sender’s handwritten message. In many instances, the image itself constituted the entirety of the message, as numerous postcards were sent without any personal note. The official debut of this new medium occurred on 1 October 1869 in the newly established Austro-Hungarian Empire. Gradually, postcards achieved remarkable popularity: everybody wants to send an image they had personally picked out to a loved one. At the beginning of the 20th century, Europe was living in peace and prosperity. The "Belle Époque" was an outgrowth of previous important historical events and developments. The networks that were created and which evolved funneled both people and their products, tangible and intangible. Colonialism, revolutions, conflicts, refugee flows; the theater, cinema, sound recording, radio, photography, but also releases in all kinds of commercial channels in a world that evolved dynamically and anisotropically formed a complex network of "centers" and "peripheries" in alternating roles. It is precisely this context that allows postcards to flourish; this is their "golden age". The establishment of the "Universal Postal Union" was a catalyst for facilitating their global circulation. On October 9, 1874, the Treaty of Bern established the sending and delivery of correspondence between its members.

Continuous advancements in the technology of this new medium aimed at enhancing both its usability and appeal, in order to address it to an increasingly wider audience. The first postcards were small in size and did not contain images. Nevertheless, their convenient size, durable cardboard material, and the inclusion of the cost of postage in their purchase price were innovative features for the time that upgraded the quality of communication. One side was intended for writing the message and the other was for the dispatch details. Soon, however, the image appears, dramatically increasing their demand. The evolution of photographic technology from the 1830s onward made the "real" image sought after. Postcards make a dynamic entry into a global distribution network and serve as a catalyst in the circulation of the image, which memorializes the "local" by carrying its related social representations as far as possible. It leaves–if not seeks–space for the activation of the imaginary on the part of the recipient.

The postcard bears the bilingual caption «ΕΘΝΙΚΟΝ ΜΟΥΣΕΙΟΝ» / "Musée national." (National Museum) and the code 4242. On the back/verso side, one can see the logo "ΜΣ", but we were unable to identify the publisher associated with it. An identical postcard has been found (see here) featuring a different publisher and a different content layout. In this postcard, the photographer focuses specifically on the National Archaeological Museum, rather than simply the "National" Museum. This detail could create some confusion for the viewer, as during the same period, there was also the National Historical Museum, which was housed in the National Technical University of Athens and focused on more recent history. Both institutions began operating in the 1880s. The building depicted in the postcard was constructed in the late 19th century to house this specific (archaeological) museum. The initial plans were undertaken by the German architect and designer Ludwig Lange, with additional modifications by the German architect Ernst Ziller. The imposing neoclassical building opened its doors to the public in 1889, showcasing antiquities that were continuously enriched through excavations across Greece. Between 1932 and 1939, the museum underwent expansion, and during World War II, its exhibits were moved to the basement to protect the collections from the occupying forces. The restoration of the exhibition was completed between 1947 and 1964, but the building suffered damage in a 1999 earthquake. From 2002 to 2004, renovation and expansion works were carried out. Today, the museum remains in the same location, offering visitors the opportunity to explore its extensive collections of archaeological artifacts (see here).

The photograph is hand-colored, and at the bottom of the front/recto side, there is a blank space where the caption is printed. On the verso side, a designated area for affixing the postage stamp is visible.

There is no handwritten text, only the dispatch details, which are written in French. The postmark is nearly faded, but the word «Αθήναι» (Athens) can still be distinguished, indicating that the postcard was sent from Athens. Based on the handwritten date, the year of dispatch is 1908 ("16.3-08"). The destination was the La Blancarde neighborhood in Marseille, France ("La Blancarde, Marseille, France"), a city in southeastern France and one of the largest ports in the Western Mediterranean, part of the broader Provence region. The Greek postage stamp on the recto side cost 5 cents.

Research and text: Dora Spetsiotou1