The arrangements for the funeral of Pope Francis were meticulous, and the ceremony drew a global audience. However, it is the arrangement of the letters on his tombstone that is now attracting significant attention.
The simple slab features only 10 letters, but the spacing between them can make it read as “F R A NCISC VS.” The lettering is intended to be read as Franciscus, the Latin derivative of the pope’s name, with the letter “V” representing both “u” and “v” in Latin.
Pope Francis’ marble tomb reflects his simple style and fulfills his desire for an unadorned final resting place. In this context, the tombstone lettering in Times Roman, a commonly used font in English, could be deemed appropriate.
However, for those concerned with kerning, the spacing between letters, the view from above the tomb is not aesthetically pleasing. Charles Nix, senior executive creative director at Monotype, remarked on the poor decision regarding the letter spacing, suggesting it will have lasting implications unless corrected.
In typography, general spacing refers to the overall space between letters within a typeface, while kerning specifically addresses the space between individual letters or characters. Nix explained that typographers invest considerable effort in ensuring harmonious spacing, particularly during the design process.
He noted that even with optimal spacing, certain letter pairs, such as a capital “A” and a capital “T,” may still require special kerning pairs to achieve a balanced appearance. The disjointed look of the letters on the tombstone is attributed to the lack of kerning between pairs.
Nix speculated that the letters may have been laid out individually rather than typed, suggesting a mathematical spacing method rather than a visually adjusted one. He pointed out that attempts to mathematically engrave letters have historically failed.
A Vatican representative was not immediately available for comment regarding the lettering. Nix mentioned that a lack of kerning is common on grave markers, particularly those produced from the 20th century onward, as this method is more cost-effective and allows for greater text accommodation.
An editor at a business, technology, and design magazine was among the first to notice the spacing issue. Casual observers also highlighted the “A” in Franciscus as standing apart from the other letters.
Elle Cordova, a digital creator and comedy writer, humorously remarked that the spacing made it appear as though pressing on the letter “A” would open a secret chamber. She criticized the design as resembling a poorly executed version of Times Roman.
Paul Shaw, a type and design historian, expressed disappointment, noting that the poor spacing was predictable due to the historical need for manual adjustments in certain letter combinations. He suggested that Pope Francis’ name was likely produced by a stonecutting machine using a computer-prepared template.
Evan Sult, an art director and designer, acknowledged the significance of the Pope's life and legacy, emphasizing the surprising impact of typography in such a context, despite its shortcomings.