Main text in black ink, rubrics in red, some capitals touched in yellow/gold.

The manuscript is richly decorated by full page miniatures, marginal borders, historiated initials and foliated initials of varying sizes, but is incomplete and misbound. The pictorial cycle is corrupt since the majority of the miniatures have been removed, and their originally facing pages are left alone at the opening of new Hours or main sections. The miniatures are ascribed to the school of Simon Bening.

The painting is executed with a broad palette and use of gold leaf and shell gold. Use of monochrome or bi-colored painting at a dozen of instances. At several occasions figurative scenes are depicted in the text enclosing broad frames that once faced the lost miniatures. The scenes are rendered with central perspective and the architecture displays a frequent use of late gothic arches in a flamboyant manner.

The majority of written pages have a rectangular border in the outer margin. The marginal decoration is enclosed by defined outlines and straight edges. The borders are filled by realistically depicted flowers, birds, snails, butterflies, precious textiles, gems and pearls rendered in trompe l'oeil, occasionally on gold imitating backgrounds. There are also borders containing panels with text, which often appear to be heavily abbreviated, e.g.(f. 79r).

The remaining miniatures depict the four Evangelists: (f. 59r): John; (f. 60v): Luke; (f. 62v): Matthew; (f. 63v): Mark.

Iconography in the borders:

(f. 2r): Carrying of the Cross;

(f. 3r): Abraham and the three angels;

(f. 11r): architecture with Christ and Mary sculptures;

(f. 22r): seven scenes from the Passion;

(f. 48r): seven scenes from Presentation in Temple to Entombment;

(f. 58r): two children playing outside a church;

(f. 61v): architecture with bishop and saint in niches;

(f. 62r): architecture with saint;

(f. 73r): Nativity;

(f. 102r), (f. 117r), (f. 129r), (f. 138r), (f. 139r): architecture;

(f. 140r): a funeral outside a church.

(ff. 2r–139r): Chapters are usually opened by foliate initials over 6 lines. The letters are normally painted in blue with white highlights and the enclosed space filled with red with gold highlights. The letters are placed on a gold background outlined in black. On (f. 3r), (f. 35r), (f. 49r), and (f. 129r) the initials are over 5 lines with letters painted in yellowish brown with details in gold/yellow; background in purplish blue or red, both with gold highlights.

(ff. 2r–165r): Paragraphs are opened by decorated initials over 2 lines. The letters are painted in blue with white details and placed on background in red with gold details. Sentences are opened by similar intials over 1 line.

The minor offices on (ff. 36r–46v) feature historiated initials over 4-6 lines. The intials are painted in purple or yellow, both with gold highlights and are placed on a background of yellow and gold, or purple and gold. The motifs are painted in shades of yellowish brown against a blue background.

Iconography:

(f. 36r): Nativity; (f. 39r): Trinity; (f. 41r): Coronation of the Virign; (f. 43r): priest with monstrance; (f. 45r): Crucifixion; (f. 46v): funeral.

Gilt edges with a x or diamond pattern pressed into the edges (most clearly visible on the (Head)).

Modern binding. The manuscript was rebound in 1983. Green velvet over wooden boards. 6 pairs of raised bands and endbands. Spine, ink on a paperlabel: ‘A 227’.