Line-finishings commonly echo the treatment of the initials (see p. 181). In twelfth-century MSS. long delicate flourishes are commonly found, in red, blue, or green--matching the colours of the Versals, and probably _made with the same pen_. The latter being rather finer than the text pen keeps these flourishes from appearing too prominent (see _e_, _f_, fig. 126).
Such work should be simple and characteristic pen-work, showing the thicks and thins and crisp curves, the result of the position of the pen, which is usually "slanted" (see p. 43).
Bands of pen-made "geometrical" patterns--used with rather close writing--may be very simple and direct, though appearing pleasantly elaborate (see figs. 87 and (g) 126, Plate XIV., and pp. 215 & 25).
INITIAL LETTERS (_See also_ pp. 16, 48, 112-14, 124, 134, 181, 188-193, 193-99, 211-15, _and the Collotype Plates_)
The development of Illumination proper was--and still is--bound up with the growth and decoration of the Initial Letter.
The first step in this development is the mastery of the pen-made Versal letter, and the right treatment of simple coloured capitals (see chapters VII., VIII., and X.). The next step is their elaboration. The simplest ornamental treatment is found in the flourishing of a terminal of the initial letter (fig. 150), or the arrangement of the _remaining letters of the word_ inside or beside it. Pen flourishes may consist of the simplest curved and zigzag strokes (sometimes springing from the actual letter: see p. 251), ending with a "twirl" of the pen in a loop or a "bud" (figs. 150, 79); or they may strike out a sort of formal floral pattern, filling or surrounding the initial (fig. 92), and such a pattern in its turn may spring from the letter into the margin, and grow into a complete "illuminated border" (see p. 199).
_Hollow Letters._--A large capital is often made hollow, primarily with a view to lightening its appearance, which might be rather heavy if the letter were made solid (p. 119). The hollow--which is commonly left plain (_i.e._ the colour of the paper or parchment)--may be a mere line, straight or curved or zigzag (fig. 189), or a pattern, or lettering (fig. 89). Sometimes it is made large and filled in with a contrasting colour, leaving a white line, however, between the two colours. And sometimes half the letter is made in one colour, and the other half (on the opposite side of the hollow centre) is made in a contrasting colour. A "hollow" letter (especially if very large) may be strengthened and improved by a filling of colour or ornament. (_Addenda_, p. 25.)