Cresci and His Capital Alphabet

Abstract

Renaissance art was marked by a vigorous adaptation of classical themes, and in restyling roman capital letters no one approached the excellence of Giovan Francesco Cresci. In Il perfetto scrittore, parte seconda, published in 1570, Cresci mastered the combinations of classical elements with his own refined style. In contrast to those who were obsessed with divina propotione and who sought to interpret the roman letters through compass and rule, Cresci’s alphabets were derived from ancient sources such as the inscription of Trajan’s column. The drift in Cresci’s thinking toward a closer allegiance to the classical letters is shown through his selection of proportion; his serifs show modification to forms closer to calligraphy.