A large cutting showing a detailed scene of the Crucifixion of Christ in the attendance of the three Mary’s. The Virgin Mary stands to the left of the Cross dressed in blue with her hands pressed in prayer. Mary Madeleine kneels at the foot of the cross with her arms wrapped around its base while gazing up at Christ. To the right, is Mary of Clopas dressed in red and blue with her arms crossed. The wounds of Christ, his stigmata, pour blood downwards as the sun and an eclipsed moon flank both arms of the Cross in front of a canopy of stars. Above Christ’s head, nailed to the Cross is a plaque reading INRI (Iesus Nazarenus, Rex Iudaeorum). The miniature is framed by a intricate gold border with two putti holding a sign dated 1546 and a blue circle with gold decoration. The illumination is attributed to a follower of Maître d'Étienne Poncher (active 1490-1510) noted in the facial compositions and hands, drapery, and architectural borders.
 
A single cutting on parchment, ruled in ink, written on nineteen lines in brown ink in a hybrid Gothic and Humanist script, one three-line initial in blue on gold grounds decorated with a red rose, one two-line initial in red, and six red or blue single-line initials. Modern pencil dimensions in pencil to the bottom on the verso.
 
The text contains a liturgy of the Ordinary Mass, with the three-line initial opening ‘Per omnia s[a]ecula s[a]eculorum Amen’ (Throughout all ages of ages Amen). A bright and crisp example of an illuminated cutting. There is some very minor flaking to the miniature on the recto. The three-line initial to the verso has also been subject to flaking, there is marks to the parchment from being previously mounted which partially obscures some script. The miniature has been cut from its parent leaf in the shape of the miniature. This was a common trend, particularly in the 19th century.