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 with the trilingual caption "ATHÈNES. Eglise byzantine (saint-Eleuthère)." / "ATHENS. Byzantine Church (St. Eleutherius)." / «ΑΘΗΝΑΙ. Εκκλησία βυζαντινή (Άγιος Ελευθέριος)» is an edition produced in Athens, as inferred from the back/verso side, where "Ekdosis Ioan. Giannoulopoulos, Athinai" (Published by Ioann. Giannoulopoulos, Athens) is marked. The religious identity of the city takes center stage, with the photographer focusing on the church of St. Eleftherios in Athens. The caption emphasizes the connection between Hellenism and Byzantium, characterizing the church in this tenuous manner. Behind St. Eleftherios stands the newly built Metropolitan Cathedral of the Annunciation of the Virgin Mary (see here). Perhaps with a touch of romanticism, the photographer’s intent seems to be to juxtapose the old with the new, the grand with the modest, the contemporary with the traditional.

The photograph is colorized, and on the right side of the front/recto side there is a small blank space that the sender can use for a handwritten message. The back/verso side is divided vertically, with the left part reserved for the message and the right for the dispatch details. There, dashed lines are visible for filling in the address.

The text is written in French and is intended for delivery to the city of Moulins, in the Allier department located in central France. Based on the message, the postcard was sent from Athens in 1909 ("Athènes, 6 Février 1909" - Athens, 6 February 1909). The Greek postage stamp on the recto cost 10 cents.

This unique combination of information outlines the distinctive journey of an image from the "Byzantine" past of the Greek state to France — a window through which Europe views Greek identity, inextricably linked in the national narrative with Orthodoxy.

Research and text: Dora Spetsiotou