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 dual caption «ΑΘΗΝΑΙ – ΠΑΝΟΡΑΜΑ ΤΩΝ ΑΘΗΝΩΝ» / “ATHÈNES – PANORAMA D'ATHÈNES” (ATHENS – PANORAMA OF ATHENS), is an edition produced in Athens, as noted on the front/recto side where «έκδοσις της Ελληνικής ταχυδρομικής υπηρεσίας.» / “Edition du service des Postes Helleniques” (Edition of the Hellenic Post Service) is marked, and is numbered 7. This postcard depicts a panoramic view of a section of central Athens, with the Acropolis dominating the right side of the frame.

The photograph is processed in sepia and occupies a small part of the recto side, where the caption and the publisher are mentioned. 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 postage stamp is integrated/printed on the postcard, with a value of 10 cents.

Στρατιωτικό δελτάριον ατελές, α/μ, αταχυδρόμητο Κατά την περίοδο των Βαλκανικών πολέμων, για τις ανάγκες αλληλογραφίας του στρατεύματος τα αποθέματα των δελταρίων επισημάνθηκαν με την ένδειξη "ΣΤΡΑΤΙΩΤΙΚΟΝ ΔΕΛΤΑΡΙΟΝ ΑΤΕΛΕΣ"