The three columns on the left include, from left to right: the Golden Numbers (from I to XIX), the Dominical Letters (running from A through G), and Kalends, and Ides, and Nones. The Golden Numbers indicate the appearance of new moons and full moons throughout the year. The Dominical Letters help find Sundays and all the other days of the week throughout the year. This esoteric information was extremely important to the medieval Christian, since it helped determine the date of Easter, the Church's most important feast, in any given year. The third column conforms to the Roman calendrical system by which each month had three fixed points (although in this calendar, as was typical for late Horae, the numerals are lacking, making this Roman calendar difficult to use).

It became common to combine the Four Evangelists in a single miniature as they appear here. They are shown writing their Gospels. Two write on scrolls, the earlier form of the book, and two on codices, which replaced the scroll by around the third century. Fantastic creatures inhabit a foliate and floral border.

The Virgin Mary kneels before the Archangel Gabriel, the angel’s left hand holding a scroll inscribed with the beginning of the prayer “Ave gracia plena d[omi]n[u]s tecu[m] ben[edicta]” (Hail Mary, Full of Grace, the Lord is with thee. Blessed). Various symbols appear in the miniature and the borders: the dove represents the Holy Spirit; the lily flower stands for the purity of the Virgin Mary; the Fountain of Life in the margin is associated with the baptism of Christ and with life and rebirth; and the hart is a reference to Psalm 42 (“as the hart longs for flowing streams, so longs my soul for thee, O God”).

Two angels stand behind the Virgin Mary, who, extends both hands to her cousin, Elizabeth, pregnant with John the Baptist. Foliate ornament, heart-shaped medallions, vine scroll ornament, and two monkeys decorate the margin.

The Virgin Mary and Joseph flank the Christ Child, lying on ground. In the background are two praying angels; an ox and an ass feed at the manger. Two men, probably shepherds, witness the scene through opening in the wall of the shed. The margin includes foliate and floral ornament and a medallion with acanthus.

A half-figure of an angel, holding a scroll inscribed “Gloria in excelcis deo” (Glory to God in the highest”), appears in sky above three shepherds and a shepherdess, catching them unawares during their frolicking. A flock of sheep and a dog surround the shepherds in a verdant landscape with trees, a city visible across the river in the distance. In a foliate and floral margin appears a seated monkey playing bagpipes, mimicking the shepherd engaged in this activity in the miniature.

Two magi, one wearing contemporary clothes and holding reliquary-like vessel in his hand, and the other wearing a crowned hat and an ermine-trimmed mantle, holding a round vessel in a draped hand, stand behind third magus, kneeling beside a crown placed on the ground and holding in both hands a chalice-like vessel of gold coins. A nude Christ Child is seated in the lap of the Virgin Mary; behind her appears Joseph holding a staff in his hand. The dilapidated shed has holes in the roof, but a brocade cloth of honor on the wall. The floral and foliate margin also includes a hybrid man holding a saber.

The high priest Simeon of Jerusalem, wearing a jeweled cope, stands behind the draped altar. Mary kneels before the altar, holding the naked Christ Child. Witnessing the scene are Joseph; a woman, wearing turban-like headdress; a man pointing to the priest; and the prophetess Anna, wearing jeweled headdress, holding a candle in right hand and a basket with doves in left hand. The foliate and floral margin includes a man carrying a basket on his back (in imitation of Anna’s basket?) and holding a staff.

The Virgin Mary, holding the swaddled Christ Child, sits on a bridled ass led by Joseph, who grasps the reins and carries a bundle. In left background, an armored soldier gestures to a man, who stands beside a cornfield. In the right background, another soldier holds a bleeding infant by the arm and fights off the mother. The foliate and floral margins include a hybrid man and a fantastic animal with huge fangs eating a bird.

Four angels are behind the Virgin Mary, one playing a harp, another holding the mantle of Virgin Mary, and a third one placing a crown on her head. The Virgin kneels in prayer on a tasseled cushion before Christ, who raises his right hand in blessing. The narrative takes place before an elaborate architectural bench. A hybrid man inhabits the foliate and floral margin.

Against a starry sky, the sun and the moon on the left and right, Christ, wearing the crown of thorns and a short loincloth, is affixed with three nails to the cross on which the titulus INRI is inscribed (“Iesus Nazarenus Rex Iudaeorum,” Jesus of Nazareth, King of the Jews). A kneeling Mary Magdalene embraces the base of the cross. Flanking the cross are the good and the bad thieves, bound to Tau crosses. The evangelist John supports with the swooning Virgin; behind him appear two Holy Women. Romans and Jews stand on the right of the cross, including three men wearing pointed hats and helmeted soldiers with spears. In a landscape with rocky hills and trees appears the distant city of Jerusalem reflected in the lake. A fantastic animal inhabits the foliate and floral border.

David, wearing a garment with an ermine collar, kneels with hands in prayer, his harp on the ground and his hat on the table before him. Behind him is a canopied throne. In the background, young David, wielding his slingshot, stands in front of the giant Goliath, who has fallen bleeding from a wound. An angel holds a sword and grabs the battleaxe held by Goliath. Above, in a starry arc of heaven, God appears, his right hand raised in blessing and holding a globe in his left hand. A peacock, a hybrid man examining a urine specimen, and a bird inhabit the foliate and floral border.

A deacon, holding a processional cross, is accompanied by three tonsured priests, wearing jeweled copes, including one holding an aspergil (for sprinkling holy water) in his right hand and touching an open book held by a second tonsured deacon. They are reciting the Rite for Burial and offering the deceased a final benediction of holy water. Behind stands a third tonsured deacon and four hooded mourners. The scene takes place in the graveyard of a Gothic church. A bird and a hybrid man inhabit the foliate and floral margin.

Herod and his wife dine before a brocade cloth behind a draped table. Salome stands before them, holding a charger upon which the head of John the Baptist is placed. The scene takes place in a palace, and a town is visible on the right. A dog poses in the foreground, and the executioner on the far right sheathes his sword and looks down at the headless, bleeding body on the ground. A bear, a rooster, birds, a peacock, a jester, and other motifs inhabit a foliate and floral border.

The Virgin Mary, who is seated with her feet on a tasseled cushion on a throne with carved canopy, holds the nude infant Christ Child, extending his left hand toward the female donor, who kneels in prayer. An angel playing the harp appears behind the Virgin. The setting is a church, with a groin vault, leaded-glass windows, and brocade wall hangings. Fantastic figures inhabit the foliate and floral borders.

The Virgin Mary, who is seated with her feet on a tasseled cushion on a throne with carved canopy, holds the nude infant Christ Child, extending his left hand toward the female donor, who kneels in prayer. An angel playing the harp appears behind the Virgin. The setting is a church, with a groin vault, leaded-glass windows, and brocade wall hangings. Fantastic figures inhabit the foliate and floral borders.

The Christ Child sits on the lap of Virgin Mary, who holds in her right hand the spear that wounded Christ at the Crucifixion and the rod with the sponge of vinegar. The cross itself and three nails, the crown of thorns, the titulus INRI, and two scourges appear behind. Flanking the Virgin and Child are two angels, one holding the column of the Flagellation. A third praying angel hovers in the sky. The setting is an enclosed garden, symbol of the Virgin’s purity and her “closed off” womb (Song of Songs 4: 12: "A garden enclosed is my sister, my spouse; a spring shut up, a fountain sealed”). The foliate and floral margin includes grotesques, among them a unicorn, another symbol of Mary, for only a virgin can capture a unicorn.

The Virgin Mary, who is seated with her feet on a tasseled cushion on a throne with carved canopy, holds the nude infant Christ Child, extending his left hand toward the female donor, who kneels in prayer. An angel playing the harp appears behind the Virgin. The setting is a church, with a groin vault, leaded-glass windows, and brocade wall hangings. Fantastic figures inhabit the foliate and floral borders.