A single well-preserved bifolio (fols. 44–45v) from the centre of a gathering of an otherwise lost host manuscript. Double-column format with alternating red and blue pen-flourished initials. Three French three-voice ‘double’ motets (i.e. with independent upper-voice texts) in a mid- to late-thirteenth-century or Ars antiqua style. The notation is Franconian: there are texted semibreves and dots of division, however the final (unique) motet exceeds the maximum tripartite division of the perfect breve permitted by Franco, featuring two melismatic four-semibreve groups in the motetus. Two of the motets (the first of which is incomplete) are known from other sources, including F-Mo H 196; The final motet (of which only the opening of the upper-voices survives) is a unicum.

The widely-transmitted (and here complete) motet 'Quant vient en mai/Ne sai que je die/IOHANNE' exceptionally presents Latin contrafactum texts directly underneath its well-known French texts in both motetus and triplum voices. These Latin contrafactum texts are otherwise unknown from motet sources, although both the motetus incipit and an internal triplum phrase are cited with these Latin texts in Franco of Cologne’s Ars cantus mensurabilis musicae.

Ruled red staves of five lines; double columns, with continuous bottom stave for tenor.

Roman numerals, in red ink, foliated 44 and 45.