Santa Maria Novella. Florence. 2018

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2018

Santa Maria Novella. Florence

Let’s proceed with our journey through the Florentine inscriptions as we make our way to Santa Maria Novella, another renowned basilica adorned with a wealth of historical tombs. Much like Santa Croce, this basilica boasts an array of Romanesque and Gothic inscriptions, 19th-century variations of “modern” styles, and, of course, the quintessential Florentine Grotesques. While many of the inscriptions bear a resemblance to those at Santa Croce, I’ll be focusing on the particularly intriguing and one-of-a-kind examples to avoid repeating my earlier posts.

I’d like to begin with this exquisite 16th-century inscription. Though the picture may not be crystal clear, it can't conceal the lively forms of the letters. Notably, the “S” boasts a distinctive shape with a relatively closed aperture, setting it apart from circular letters like “C” or “G”. The oval “O” seems to tilt in the opposite direction from its usual orientation. Altogether, there’s a sense that this plate is almost in constant motion.

Basilica di Santa Maria Novella, Florence.

I find the contrast between the characters in this inscription quite captivating. On one hand, there are these delicate curls, as seen in the leg of the “R” and the numbers. On the other hand, there are these sharp, almost prickly serifs, especially noticeable in “G” and “C”, nearly reaching out to touch their neighboring letters. Moreover, there’s a dynamic slant in the oval axis of “O”, while “C” remains perfectly straight. There’s a remarkable variety in the shapes, from maximally round ovals to very square bowls as seen in “R”. Additionally, the saturation of the letters varies; “P” appears bold compared to its neighboring round letters. In a modern font, this abundance of contradictions might be disorienting (although, of course, one could argue otherwise). However, in my opinion, it only enhances the appeal of such inscriptions. There’s a special fascination in examining them, precisely because the letters aren’t perfectly aligned, and each carries its own distinct character.

Basilica di Santa Maria Novella, Florence.

This tomb holds a special charm for me, thanks to its rich in subtle details design. The inscription showcases the characteristic traits of Florentine Sans Serif — notice the triangular horizontal strokes, the gracefully curved leg of the “R”, and the distinctive “S”. Additionally, there are clear Romanesque influences, evident in the shapes of letters like “G” and “Q”, as well as the cap on the apex of the “A”. The proportions, particularly of “A” and “V”, are notably dense, adding to the overall visual impact.

Basilica di Santa Maria Novella, Florence.

This inscription, dating back to approximately the 16th century, boasts several noteworthy elements. The “R” shape, in particular, stands out — featuring a straight leg with a serif at the end. It’s interesting to note that in other inscriptions from the same period, “R” legs tend to be bent, albeit in various ways. The straight variants are more commonly found in Florentine grotesques, but they typically exhibit a wedge-shaped form.

Additionally, the curved “X” and the whimsical “Q” with its distinctive worm-like tail add to the inscription’s charm. Uneven proportions are also evident here, with both wide and narrow letters like “N” and “C”, as well as varying widths among diagonal letters.

Basilica di Santa Maria Novella, Florence.

This 16th-century serifed inscription, characterized by its minimal contrast, holds a certain charm. Yet, beyond the letterforms themselves, there’s an additional intriguing detail to note — a comma! It’s worth mentioning that in its modern form, the comma emerged in the books of Aldus Manutius only in the latter half of the 15th century. As such, we can view this inscription as remarkably innovative for its time.

Basilica di Santa Maria Novella, Florence.

To round out my survey of the tombs at Santa Maria Novella, here are some delightful Romanesque inscriptions.

Basilica di Santa Maria Novella, Florence.

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