Main text in black ink, rubrics in red.

35 full-page miniatures and 1 full-page portrait (later addition). The miniatures are always matched with a facing page large foliate initial that opens the relevant chapter. The illuminations are either framed in gold with an outer border in red or blue ink, e.g. (f. 55v), or surrounded by a painted border in different colours, e.g. (f. 111v). The dominating colours are blue, red, green, pink and yellow, as well as pink skin tones. Gold is also used frequently. The miniatures are covered by contemporary red cloth curtains.

The motifs consist of key scenes associated with the relevant chapter with characters realistically portrayed in contemporary clothing and armour, e.g. (f. 131v), and backgrounds often featuring castles or other buildings, e.g. (f. 70v).

The motifs are: Hours of the Virgin: (f. 55v): the Annunciation; (f. 70v): Visitation; (f. 74v): Nativity; (f. 78v): Adoration of the Magi; (f. 82v): Presentation in the Temple; (f. 86v): Christ and the Doctors in the Temple; (f. 92v): Death of the Virgin; Prayers/Suffrages: (f. 99r): The Shroud/Face of Christ; (f. 99v): Christ with instruments of the Passion; (f. 107r): St Christopher carrying a child; (f. 108v): St Leonhard; (f. 109v): St Eustach; (f. 111v): Crucifixion; (f. 113v): Mary Magdalen; (f. 115r): St Barbara; (f. 117r): St George; (f. 118r): St Peter; (f. 119r): St Bartholomew; (f. 120r): St Matthew; (f. 121r): St Florian; (f. 122r): St Sebastian; Hours of the Passion: (f. 131v): Christ Before Pilate; (f. 135r): Christ Carrying the Cross; (f. 138v): The Crucifixion; (f. 141v): The Deposition; (f. 145r): The Entombment; (f. 149r): The Resurrection; Hours of Corpus Christi: (f. 153v): The Last Supper; (f. 158v): Counterfeiting the host; (f. 160v): Mass interrupted; (f. 173r): The feast of Corpus Christi; (f. 178v): Reading of the Mass; (f. 182v): Miracle of the Sacred Bleeding Host of Dijon; (f. 186r): Last rites/destrucion of the host?; (f. 189v): Two kneeling angels holding a monstrance; Portrait: (f. 202r): later portrait of the Habsburg family. In the center Philip I of Castille, and from the left top corner clockwise: Frederick III, Maximilian I, Ferdinand I, and Carl V.

(ff. 16r–186v): chapters (the hours, or other major sections) are introduced by a foliate initial over 10 lines. The painted initials are made up of vegetative shapes in shades of either blue, green, red, or solid gold. The counter space is filled with a contrasting colour and vine ornaments (sometimes in gold). The initial is placed on a square background, usually of gold, but sometimes painted in another colour, e.g. (f. 83v). Elements of the initial extend into the margin to form a leaf-/flower-shaped border, e.g. (f. 83r). (f. 190r): inhabited inital. Same style as the others but the counter space is filled with an image of a hooded man in profile and the coat of arms of Johann Siebenhirter. The same coat of arms is also present in the margin on (f. 139r), and (f. 149v), where it is hanging from foliage. On (f. 136r), (f. 142v), and (f. 173v) the coat of arms of the Order of St George are hanging from foliage; on (f. 145v) it is held by a flower-man. (ff. 98v–122v): a smaller version over 4 lines of the foliate initials are used for the indivudal prayers. (ff. 14r–200v): paragraphs are introduced by plain initials over 2-3 lines in alternating blue and red, while capitals in the same style are used for sentences.

Gilt edges.

Medieval biding. Red velvet over wooden boards. 4 double raised bands and endbands.