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 «ΠΕΙΡΑΙΕΥΣ – Τινάνειος κήπος και Ναός Αγίου Σπυρίδωνος» / "PIRÉE – Jardin Tinanios et temple de Saint Spiridion" (PIRAEUS – Tinanios Garden and Temple of Saint Spiridion), was published in Athens, as inferred from the back/verso side, where "Ekdosis Farazi kai Michalopoulou, Athinai." (Published by Farazis and Michalopoulos, Athens.) is marked, and is numbered 58. In this postcard, the caption directs the viewer’s attention to two key landmarks: the garden and the church. In other words, it highlights both the religious identity of the city and its infrastructure and public spaces. Saint Spyridon Church has a long history. Originally, as the Saint Spiridon Monastery, it was one of the few buildings in Piraeus before the establishment of the Greek state. The monastery thrived and was revered by both Christian subjects and non-Christians alike. However, with the outbreak of the Greek War of Independence in 1821, the monastery began to deteriorate, and it was ultimately destroyed during the liberation of Piraeus in 1827. After the war, the abbot and the monks, who had taken refuge on neighboring islands, returned with the intention of rebuilding it. However, in January 1836, Kyriakos Serfiotis, the first mayor of Piraeus, along with the municipal authority, announced the construction of a new church named Saint Spiridon on the site where the monastery once stood. Following a municipal loan and fundraising efforts, the foundation stone was laid in May of the same year. Eventually, the church took on its final form in 1897 and has remained largely unchanged to this day, with only a few modifications over the years (see here). On the other hand, the history of the Tinaneios Garden is equally remarkable. It was created in 1854 by the French admiral Adelbert Le Barbier De Tinan, during the period when Piraeus and Athens were under Anglo-French occupation (1854-1857). The park was initially designed as a recreational space for foreign soldiers, serving as a venue for entertainment and social gatherings, which over time shaped its own distinct history. It was officially named "Tinaneios Garden" on May 18, 1855, by the Municipality of Piraeus. Today, the park still stands in its original location, though its appearance has changed significantly from its early form (see here).

In the postcard, the photographer captures the park bustling with people. It is most likely depicting a celebration or an event.

The photograph is colorized and occupies the entire front/recto side. The 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, along with a field for affixing the postage stamp.

The text is written in Italian and is intended for delivery to the coastal city of Palermo, on the island of Sicily. Based on the faded postmark and the postage stamp, the postcard was sent from Greece, specifically from Piraeus, in 1909 ("22/3-07/04/1909"). The Greek postage stamp on the verso side cost 5 cents.

Research and text: Dora Spetsiotou1