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 – Σιδηροδρομικός Σταθμός.» / "PIRÉE – Station du Chemin de fer." (PIRAEUS – Railway Station.), is an edition produced in Athens, as inferred from the back/verso side where "Ekdosis Farazi kai Michalopoulou, Athinai." (Farazis and Michalopoulos edition, Athens) is marked, and bears the code 59872. This postcard showcases one of the main streets of Piraeus, bustling with commercial activity. As one of the largest ports in the Eastern Mediterranean, Piraeus began to flourish in 1834, when Athens was established as the capital of the Greek state. In this image, the photographer successfully captures the vibrant buzz of Piraeus, offering a glimpse into the daily life of the port city in the early 20th century. The Piraeus railway station depicted here was inaugurated in 1904, connecting the country’s main port with the Greek hinterland, extending as far as Larissa. Over the following years, railway lines were expanded, as the country’s borders changed, and the need for international railway connections emerged. The station ceased operations permanently in 2005 and remained abandoned for several years. In 2022, the Municipality of Piraeus announced plans to reopen the station, transforming it into a museum and cultural space dedicated to rebetiko music, under the name "House of Rebetiko". However, the project has yet to be realized.

Regarding the postcard, one cannot overlook the absence of women from the frame. Groups of men, of all ages, dominate the scene, suggesting either that there happened to be no women present at the moment the photograph was taken, or that the location was not considered suitable for them — or, rather, that their presence was not expected or required. Another noteworthy element is the horse-drawn bus, visible on the right side of the frame. This was an innovative and practical mode of transportation at the time, first introduced in 1828 in Paris by the Frenchman Stanislas Baudry, under the name "Omnibus". A means of transport that also served the working class, it became widely popular in both Europe and America, until it was eventually replaced by the electric tram —a product of the Second Industrial Revolution— in the late 19th century.

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 English and intended for delivery to England. Based on the postmark, the postcard was sent from Piraeus, but the date of dispatch is not discernible.

Research and text: Dora Spetsiotou1