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 bilingual caption «ΑΚΑΔΗΜΙΑ» / "ATHÈNES – L’Académie" (ACADEMY / ATHENS – The Academy) is a publication issued in Athens, as inferred from the back/verso side, where it reads "A. Pallis & Cie - Athènes". This particular postcard depicts the Academy, one of the emblematic neoclassical buildings in the center of Athens. In 1859, the Danish architect Theophilus Hansen undertook the design of the project following a donation made to the Greek state by Simonas Sinas in 1856. In 1861, Ernst Ziller took over the project's supervision and delivered it in March 1887 to the then Prime Minister of Greece, Charilaos Trikoupis. Sinas had intended for the building to house the Academy of Athens, which was ultimately established there in March 1926 (see here). The composition of the image, with people crossing the square in front of the Academy, helps the viewer grasp the scale of the marble structure. In the background, Mount Hymettus is visible, with the photographer integrating it into the frame in a way that harmonizes with the statues of Athena and Apollo, standing atop the imposing columns on either side of the central entrance. This architectural masterpiece, located in the heart of the city, serves as a tribute to Athens' ancient past.

The photograph is slightly colorized and occupies the entire front/recto side. The verso 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 dispatch details.

Research and text: Dora Spetsiotou1