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2018
Santa Croce. Florence
Santa Croce in Florence is the very place where Herman Zapf found inspiration for his renowned typeface, Optima. Its floor houses numerous historical tombs spanning different periods, each adorned with a wide array of letterforms. Yet, for me, the most captivating are those showcasing the Florentine sans serifs.
1
This is an exemplar of the Florentine sans serif, believed to date back to the 15th century.

The Florentine sans serifs, emerging from the second revival of classical Roman capitals, owe much of their character to Romanesque lettering.

The most conspicuous feature is the distinctive wedge-shaped strokes, further emphasized by the centuries of foot traffic on this floor inscription.

The letterforms themselves are quite intriguing. Within this example, one can discern several variations of “R”, all with elegantly curved legs. There's also an instance of “P” with a round bowl. “M” deviates from the classical Roman variant, featuring vertical stems and a more modest width. The tail of the “Q” exhibits a certain modesty as well.

In truth, Florentine sans serifs can present a wide range of letterforms, and you'll encounter more examples of them in the upcoming posts.

Basilica di Santa Croce, Florence.
2
Here we have another example of Florentine sans serif, and it exhibits notable differences from the previous one. Pay attention to the proportions of the letters — the contrast between narrow and wide ones is much more pronounced. Additionally, take note of the straight leg of the “R”, resembling Zapf’s Optima. “N” showcases reverse contrast, with the diagonal stroke being thin and the vertical ones thick — much like the Cyrillic letter “И”. Both “A” and “V” feature wedge-shaped diagonals and are notably wide. The “G” exhibits a Romanesque flair in its form.

While at first glance, these inscriptions may appear similar, upon closer examination, they reveal many intriguing distinctions.

Basilica di Santa Croce, Florence.
3
This inscription presents quite a curious blend. It appears to be a hybrid of the Florentine Sans Serif style with more conventional serifed letters. Take a look at “A”, for instance. The right diagonal features serifs, whereas the left one does not. Instead, it displays a distinctive variation in thickness. This same characteristic can be observed in “M”, “V”, and “X”. “N” bears just one serif at the top.

When it comes to the serifs themselves, they vary significantly. Some are rather thick and unassuming, while others are sharp and daring. “E” exhibits both of these types.

At first glance, this inscription may seem fairly typical. However, upon closer examination, one can discern these intriguing nuances.

Basilica di Santa Croce, Florence.
4
This inscription, likely created in the latter half of the 16th century, may not stand out significantly, but there are interesting elements to highlight. One such feature is the descending tail of the “R”, a detail that I quite appreciate. This unique aspect will appear frequently in subsequent inscriptions. Additionally, the “M” takes inspiration from Florentine sans serifs in its shape.

Circa 1578

Basilica di Santa Croce, Florence.
5
This is the tomb of the renowned Renaissance sculptors Lorenzo and Vittorio Ghiberti. The inscription is adorned with numerous intricate details that warrant close examination. Firstly, the “G” stands out with its distinctive shape, featuring different versions, ranging from modest to extravagant. Each “R” exhibits its own unique form, although there is an overarching similarity—a slightly enlarged head with a gently curved leg. The “E” displays significant contrast in the length of its crossbars, and at times, the middle line of the letter is lowered. Proportions vary within the same letter, ranging from relatively wide to slightly narrow, yet the overall proportions lack excessive contrast.

This inscription certainly exudes an unruly character!

16th century.

Basilica di Santa Croce, Florence.
6
This inscription hails from the mid-16th century, showcasing a blend of features from Florentine sans serifs and classical Roman capitals.

I particularly admire the “R” in “CLARISSIMI”. Its bold and stately presence, coupled with the Florentine-inspired leg, exudes a sense of confidence. The “S” characters are remarkably stable and display a harmonious proportionality, a quality not always observed in inscriptions of this nature. Amidst this overall even composition, one encounters an “M” in “DOCTRIMQ” that evokes an Avant Garde-like aesthetic, adding a unique dimension to the composition.

Basilica di Santa Croce, Florence.
7
One of my personal favorites, this inscription from 1423 bears a striking resemblance to modern typefaces like Futura or Gill Sans. While it maintains the proportions and letterforms characteristic of Florentine sans serif, it notably lacks the contrast typically associated with such lettering. It’s possible that this feature is linked to the manufacturing method, wherein solid pieces of stone were used to fill the letters, potentially making it challenging to create the thinner parts of the letters. But of course, this is merely my assumption.

Basilica di Santa Croce, Florence.
8
This inscription is a component of the altarpiece created by Andrea della Robbia around c.1460. Unlike the preceding inscriptions, it is not carved but rather written on glazed terracotta. It represents a Florentine sans serif style but with visible serifs, displaying relatively narrow proportions, except for the notably bold “A”. And what a striking “S” it showcases!

Basilica di Santa Croce, Florence.
9
This inscription graces the funeral chapel of the Pazzi family, a structure meticulously crafted around 1429 by the renowned Florentine architect Filippo Brunelleschi (known for discovering linear perspective and contributing to the splendid appearance of Florence!).

The inscription itself exudes an elegant subtlety in the form of a Florentine sans serif, characterized by distinctive elements such as the dynamic, falling “S” and the broad, triangular “M”. In contrast, the “A” adopts more modest proportions. The form of the “R”s’ leg is particularly striking and adds a unique touch to the overall composition.

Basilica di Santa Croce, Florence.
10
I’m sharing this tomb not for its particularly interesting inscription or captivating lettering. Quite the opposite. In fact, I was inclined to delete this photo until I noticed the name of the individual interred here. It's Giorgio Vasari! A great painter and architect, he’s best known for writing “Lives of the Most Excellent Painters, Sculptors, and Architects” — the very first book on the history of art. It’s quite ironic that a figure of such profound influence is laid to rest in such an unassuming grave.

Basilica di Santa Croce, Florence.
11
When you were given unrealistic specifications :)

Basilica di Santa Croce, Florence.
12
While this inscription may not be the most memorable, it still harbors intriguing details. Here, a subtle and unassuming “S” shares space with the confidently rendered “B” and “T”.

Basilica di Santa Croce, Florence.
13
Take a moment to appreciate the sharp and graphic Gothic style. It’s fitting for these letters to be carved in stone.

Basilica di Santa Croce, Florence.
14
This inscription, relatively more recent compared to the previous ones, exhibits a modern style. Notably, while the “O” is not perfectly round, it still maintains a rounded quality. On the other hand, the “D” and “B” feature an almost rectangular counter. And of course, the form of the “Y” is truly striking, notably different from the Greek-style Ys seen in earlier images.

Additionally, there are some intriguing proportions at play. For instance, the “M” appears quite narrow, while the “N” is notably expansive. These variations in letterform contribute to the distinctive character of this inscription.

Basilica di Santa Croce, Florence.
15
Trampled inscriptions indeed possess a unique charm, as they transform into intricate patterns, with the rhythm of thick strokes becoming particularly prominent. Additionally, they can serve as a source of inspiration for stencil designs. This particular example appears to date back to the 16th century, adding historical context to its visual appeal.

Basilica di Santa Croce, Florence.
16
Continuing from the previous post, we encounter more trampled inscriptions. The word “SOROR” displays particularly pleasing spacing.

Basilica di Santa Croce, Florence.
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