Binding marks are visible on the edge of the leaf.

Marginal rinceaux and painted line fillers, smallish acanthus leaves on miniature pages only. Margins also include gold trefoil and red, blue, and green flowers growing on the rinceaux. Rinceaux often seems to "sprout" out of the text, usually from a single gold initial or a line-filler. Borders on recto and verso are mirrored for efficiency. Some leaves show a gold ring motif among the rinceaux. Miniatures with gold U-borders with flowers/leaves in red and blue. Continental color palette: Blues, purples, jewel-tone and &continental design: botanical leafy, organic. Miniature composition similar to Bedford Master Workshop, Dunois Master Workshop, and occasionally elements of Boucicaut Master Workshop (as suggested by Sotheby's). Judith Oliver in 1985: "These compositions are very similar in all their details to those of the Bedford atelier." 

Written in northern France in the second quarter of the fifteenth century, for the Use of Paris. Use of Paris is indicated by the Calendar and liturgical variants in Matins of the Hours of the Virgin, and Vespers and Matins in the Office of the Dead.

Broken by Otto F. Ege before 1950. Many text leaves used as No. 31 in his "Fifty Original Leaves from Medieval Manuscripts" portfolios, forty of which were assembled in the 1950s. The miniatures were distributed by other means.