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

The manuscript originally contained numerous full- or half-page miniatures, of which only four are left in the manuscript.

The remaining miniatures are portraits of the four Evangelists: (f. 59r): John; (f. 60v): Luke; (f. 62v): Matthew; (f. 63v): Mark. The miniatures are composed as a frame in a frame, with an outer decorative border not related to the story in the illustration and an inner frame usually shaped as a window or portal. The borders are also used for pages with large intitials, e.g. (f. 7r). The majority of the borders feature realistically painted flowers, birds, and insects usually placed on a yellow background, e.g. (f. 60v). The other dominating motif for the borders is architectural elements, e.g. (f. 11r) and (f. 62r). All other leaves feature a quarter-border in the outer margin. These are usually similar in style to the full borders, but with variation, e.g.(f. 119v) and (f. 40v). There are also borders containing panels with text, which often appear to be heavily abbreviated, e.g. (f. 79r). There are three instances of borders with historiated motifs in monochrome:

(f. 2r): Christ carrying the cross; (f. 3r): man kneeling infront of three angels; (f. 22r): scenes from the life of Christ;

(f. 140r): a burial.

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

Undeciphered text in panels:

(f. 21v): SNROEMSNVA

(f. 30v): NEMCSVHEKNE

(f. 31r): HSOANRMAVNSK

(f. 34v): SEVSNASOHSEI

(f. 42v): NESNCHOVMEF

(f. 43r): EISIVNOHSOVEF

(f. 48v): VSNAEHSMSRNAEI

(f. 58v): NASRMSNOIS

(f. 68v): NSERMASIRNSI

(f. 79v) : SNRSVMAOSNRI

(f. 80r): NASMVESMQRVS

(f. 100v): SMOVASNEISIO

(f. 101r): NRVAEOSMRIR

(f. 102r): SOAIONSITORN

(f. 105v): BNSRIDMASNOS

(f. 106r): SNRMSAVSNEBISI

(f. 127v): NCSRVMSIAVEHS

(f. 141v): IAVENESMRINSAEH

(f. 142r): ORINSHNOAMRN

(f. 155v): SVNEISRVEMSI

(f. 156r): AVENOSMAVICSI

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’.