This illuminated leaf, impressive in size and rich in decorations, comes from a choirbook certainly finished in 1550, as indicated by the date inscribed in the cartouche on the left border of the page. This is a very late date for the creation of a manuscript, considering that printed books began to surpass manuscripts as early as the late 15th century. Clearly, the original patron of this choirbook had a particular taste for the meticulous work of scribes and illuminators. It is likely that the manuscript from which this leaf originates was created in a monastic environment, as monasteries continued to appreciate manuscripts, and continued to employ scribes and illuminators, particularly for the creation of choirbooks, which were still used for the liturgical services. It is worth mentioning the important monastery of Salem, near Constance, for which the choirbook from which the present leaf originates could have been created.

This illuminated leaf contains a portion of the beginning of the Commune Sanctorum. The beautiful initial "B" opens the chant Benedicat nos deus, which was recited on the first Sunday after Pentecost, to celebrate the Trinity, itself illustrated in the initial "B". The painting follows the iconographic tradition known as the Throne of Grace: God the Father, wearing a crown, is seated in the sky, on a throne. He supports the Cross bearing the body of Christ, while the upper part is occupied by the Holy Spirit, represented as a white dove from which rays emanate. This illuminated leaf is further adorned with large floral decorations gracefully entwined, with putti playing: in the lower margin, two naked putti play together, while in the left margin, the naked putto climbs the floral decoration, the dressed putto in the center supports a cartouche bearing the date, and the dressed putto at the top of the same border supports the initial "B". The stylistic study of this high-quality page, characterized by saturated colors, a lively, and masterful brushstroke, as well as a pronounced taste for exuberant forms, places our illuminated leaf in southern Germany. Stylistic elements of our page recall the works of the famous Nikolaus Glockendon (important German illuminator active in Nuremberg during the first half of the 16th century) and his workshop.