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].)
“Woven” Forms.—A simple form of ornament (related to “Basket work”) which effectually strengthens the construction of a hollow letter—without impairing its lightness—consists in a crossing [p209] and “weaving” or knotting of its actual parts (fig. [127]).
The elaborated
