In front of the Calendar, whose names point to Paris, there is a monogram composed of gold capital letters against a blue background: B, C, E, H, L, 0, a presumably sixteenth century addition. Following the beginnings of the Four Gospels (picture of John on Patmos), there is the “oratio devota de nostra domina” (picture of Mary on the throne with child, before whom the benefactress kneels, angels playing instruments, putti playing instruments in the border). It is followed by O Intemerata (O initial with Madonna and child in aureole), followed by the Hours of the Virgin with ten pictures from the Annunciation of Mary to the Crowning of Mary (Compline), whereby for Lauds prayers and corresponding pictures for the Crucifixion of Christ and Whitsun are inserted. This is followed by a depiction of David and Goliath for the Penitential Psalms, the Litany, a funeral picture for the Office of the Dead and a depiction of the Holy Trinity for the “memoire de la trinité.” The Book of Hours is completed with prayers for individual saints, a section dedicated to Saint Adrian (picture of the saint as knight with lion) and the inscription “In manu dei sors mea—In the hand of God, my heart.”

The manuscript stands out due to its formal unity and stringency. The texts and pictorial ornamentation are each from one hand respectively. The full-size pictures are framed below and to the right in the direction of the edge of the paper by ornamental bars with a gold background. To the left they are framed by a simple gold-blue double bar. This framing (cf. Marescalchi Hours, Savoyen, ca. 1465–1470, Walters Collection, Ms. W. 292) is rarer than the three-sided uniform framing, whereby the broad vine scroll pattern became less common during the course of the second half of the fifteenth century. The ornamental strips on the outside edge of the text pages are characterized by the spiral course of finely-branched vine foliage with small gold knots, through which the parchment background can be seen. They are considerably more open than the denser borders of the full-size pictures covered in fleshy vine foliage and thus bear witness to the stylistic influences of earlier decades. Although stylistically the miniatures unequivocally match those of the Maître François, the very clear Textura distinguishes itself from the Bastarda which is usually found in this workshop's manuscripts. The Parisian (?) illuminator of the second half of the fifteenth century is only known by name from a letter of 1473. His painting is stylistically similar to that of the leading illuminator in France at that time, Jean Fouquet.

Finally, the differentiation between outside and interior scenes through the use of columns and archways, which frame the latter, is striking. Joachim Plotzek highlighted this feature as an exceptional characteristic trait of the manuscript Ms. Ludwig IX 11 (Los Angeles, J. Paul Getty Museum), which was produced in northern France, the Hennegau, or Bruges between 1466–1470 (cf. Joachim M. Plotzek, Die Handschriften der Sammlung Ludwig, Bd. 2 (Breviar, Stundenbuch, Gebetbuch), Köln, Schnütgen-Museum, Köln 1982, p. 186).