The miniature illuminations are on the whole inferior to the exquisite paintings in Flemish manuscripts; but they are usually very decorative in treatment, of a simple, homely style, which is not without charm. The decorative initials are often very large and beautiful, in some cases occupying a large proportion of the page; and the borders, which grow gracefully out of these large capitals, are magnificently rich both in design and execution. Gold is used profusely and with remarkable taste and skill in these Dutch illuminations, which frequently have a combination of _mat_, fluid gold applied with the brush over a ground of brilliantly burnished gold leaf. Very beautiful initials are also formed by painting with a transparent lake red over a ground of burnished gold, which shines through the red pigment, thus producing a brilliantly decorative effect. _Realistic details._ The miniatures of the fifteenth century Dutch manuscripts are noticeable for their realistic architectural details, with interiors of rooms full of elaborate furniture, bookshelves, sideboards covered with silver plate, or the humbler jugs and dishes of pewter, with countless other kinds of fittings and furniture. Dutch miniatures with ecclesiastical scenes frequently have elaborately rendered interior views of churches, which are usually very interesting from their illustration of the choir and altar fittings, the retables, the "riddles" or altar-curtains, the tabernacles for the Reserved Host, and many other valuable records of mediaeval church furniture and ritual[171]. One very delicate and beautiful kind of illumination, which occurs in many of the best Dutch manuscripts, is by no means peculiar to Holland, but is also found in many English, French, Flemish and Italian manuscripts. _Skilful use of the pen._ This consists of capitals, often of large size, decorated with rich ornamentation executed wholly with thin lines of blue and red drawn with a very fine pen. The firmness of touch and spirited quality of this pen illumination is often very remarkable, showing the most perfect training of hand and eye on the part of the illuminator. Though not as gorgeous as the usual initials painted with gold and colours, this line ornament is sometimes of the richest and most delicate quality that can be imagined. In some cases a purple or violet ink is used, as well as the brighter blue and red, especially in Italian manuscripts. The form of the pen ornaments used in this class of illumination is very much the same in all the chief European classes of manuscripts; a somewhat exceptional circumstance, since, as a rule, each country has its own peculiar types of decoration. Illuminations in printed books.