The final section of this manuscript (quires 15-20) was left at various stages of completion, revealing the artist’s methods of work. In the last two quires (fols. 127-140), free-hand drawings delineate all elements of the design, down to facial features and ornamental details. In quires 15-18 (fols. 98-126), the drawings were covered in lead white to create a smooth, uniform ground. The gold leaf was applied next. For details, such as crosiers and candlesticks, it was laid flat on the parchment and left unburnished, but in the miniatures’ frames and the initials’ backgrounds the gold leaf was first applied on a raised ground of blue-coloured bole and then polished to create a highly reflective, dazzling effect. Shell gold was also used as paint, for example in the tendrils traced over some of the miniatures’ blue backgrounds. The azurite in these backgrounds was applied at the same stage as the blue and pink initials and foliate extensions. Next, the figures’ robes were mapped in blue, orange, pink and violet. These base colours were shaded in darker hues and highlighted with white. The subtle modelling technique imparts a three-dimensional effect to the incomplete miniatures. The finished images in the first section of the manuscript owe their more graphic, decorative effect to the stronger contrasts between the final layers of shading and highlights, and the crisp carbon-black outlines and facial features.