(in fig. [127]) is from a 10th or 11th century MS. (Brit. Museum, Egerton, 608). The Initial and its inwoven ornament cut up the background into a number of distinct parts (distinctly coloured). Note also that the entire background is contained by the Initial.
The “knot” (fig. [127]), or a basket-work ornament, is sometimes used as an arbitrary starting-point for a filigree border (see p. [428]) where an initial is lacking.
Variety in Initials.—The sizes and styles of the initials which are used for the same purpose throughout the book vary very slightly or not at all. Generally, the more important the division which the [p210] initial marks, the larger the initial and the more ornate (p. [298]). A slight complexity in the opening letter or word of a book does not seriously interfere with the readableness of the book as a whole. The general rule is followed that the greater the number of (decorative) forms the plainer they are kept (see p. [126]), and if a book contained an “initial” on every page, it would be both an artistic and a working economy (if there were many pages) to make the majority of them rather plain.
But however simple the treatment of the initials may be, there is still room for considerable variety of form or ornament or type—as “round” or “square” letters (see fig. [80], and especially [Plate XI.]). Such variety is found in the best work; it adds a liveliness and charm which are quite lacking where there is unnecessary or mechanical repetition.
“Lombardic” versus Roman Capitals.—The round, fat letters which are known as “Lombardic” (see fig. [1], and Plates [XV.], [XVII.]) have been generally used for “illuminated initials” in Northern Europe since the thirteenth century. But—though they are capable of very beautiful treatment—they are rather doubtful models for us to follow. The fact that such letters will always pack neatly into a square niche or background—though an obvious convenience—is not an unmixed advantage. And the majority of examples show a debased type of Letters—often so unlike their originals, and so like one another, as to be scarcely readable. For the sake of readableness the stems should be made longer (fig. [128]). The more slender “Roman” type of initial, commonly used in Italy ([Plate XVIII.]), is in every way a more legible letter. The Roman Alphabet still remains the finest [p211] model, and it is better that fine lettering should be almost too slender and delicate, than that it should be at all heavy or clumsy.
BORDERS & BACKGROUNDS
The illuminated border was originally an extension or branching out of the initial decoration. It commonly occupied the greater part of the left-hand margin, and from thence it extended into the head[45] or foot margin (or into both), or completely surrounded the text, and even the eight margins of a [p213] complete opening are sometimes covered with illumination. In late and modern usage the border is frequently separated from the initial, constituting a “framing border.”[46]
