Fiorenza

Londa Marks reaches four decks with the Fiorenza, twenty-two majors under Florence's own name, and her range now reads complete: digital corvids, operative alchemy, Medici glamour, and here the flower-city itself, the Renaissance register revisited. A maker returning twice to Florentine themes is telling; the city's marriage of banking, beauty and allegory is tarot's actual birthplace culture, and indie makers feel the pull the way painters feel Rome. The deck's human-created framing carries a period charm, dating from the years when handwork was worth certifying, which for Marks, whose Crow's Magick pioneered digital art, lands with gentle irony: the same maker flagged both frontiers. It suits Marks completists closing the quartet, Florence romantics, majors-only collectors of the Renaissance shelf, and readers amused by how provenance anxieties date themselves. Four decks, four doors tried; the indie tradition is made of exactly such persistent knocking.