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 «ΠΛΑΤΕΙΑ ΚΑΡΑΪΣΚΑΚΗ» / "Pirée – Grèce Plàce Karaïscakis" (KARAISKAKI SQUARE / Athens – Greece Karaiskaki Square) is a publication issued in Athens, as inferred from the back/verso side, where it reads "A. Pallis et Cie - Athènes" and bears the number 336. In this particular postcard, the photographer captures a bustling square of the Greek capital. Due to its location at the port of Piraeus, it was at the heart of commercial and business activity. Cafés, restaurants, hotels, workshops, shops and other establishments surrounded the square, catering to visitors' needs and facilitating trade. Toward the late 19th century, the number of buildings steadily increased. However, after a fire broke out on January 4, 1929, the square lost much of its former grandeur (see here). The square, which retains its name to this day, was named after the statue of Georgios Karaiskakis, which was placed there in 1895. The postcard depicts this monument, a statue that sparked strong reactions due to its lack of resemblance to the 1821 War of Independence hero (see here). The statue was completely destroyed in the 1929 fire. The photographer’s lens focuses on the statue while also providing the viewer with a glimpse of the surrounding shops. In 1966, the square was redesigned, and a new equestrian statue of Karaiskakis was installed, which still stands there today.

The photograph is processed in sepia, and at the bottom of the image, on the front/recto side, there is a blank space where the caption/title is written. 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 address.

The very brief message is written in French and is intended for delivery to Izmir ("Smyrne"). Based on the postmark, the postcard was sent from Piraeus on June 21, 1913. The Greek postage stamp on the verso side cost 5 cents.

Research and text: Dora Spetsiotou1