Manuscript known traditionally as the Herdmanstoun Breviary, but more correctly described as an Antiphonal. It was written in the north of England, possibly Northumberland, but later taken to Scotland and altered. It has been suggested by Höhler that the manuscript was possibly written for the college of canons founded at Chester-le-Street by Bishop Anthony Bek of Durham. Bannister speculates that the volume may have been brought to Scotland during the reign of David II (1329-1371).

The volume contains musical services as well as the text of Church services according to the Use of Sarum. The work is written in littera textualis in double columns.

The contents are as follows:

The original vellum flyleaves of the manuscript have been used for later liturgical additions in various hands. Folio 1r has prayer inscriptions, although some of the text is obscured. Folio 1v is mostly blank, except for a line of musical notation towards the bottom of the leaf. Folio 2r contains lessons of the Virgin Mary, possibly in a hand of the early 14th century. Folio 2v includes charms against cattle plague, mostly in Latin, but with one paragraph in Scots. There are two hands evident on this side of the folio, one of which is probably of the early 14th century and the other of the 15th century. Folios 1r-2v.

Temporale. Excluding the Corpus Christi. Folios 3r-166r.

'Hic incipit tonale secundum usum Sarum’. In a different hand from the Temporale. Folios 166r-168v.

Calendar of Saints. Northern English with later Scottish additions, including obits of the Sinclairs, dates of battles, and dedication feasts. Folios 169r-174v.

Liturgical psalter in full. In a different hand. Folios 175r-219r.

Litany, with later liturgical additions on folio 221v. Folios 219v-221v.

Sanctorale, lacking the first quire. Begins at St. Nicholas and includes a rhymed office for St. Cuthbert from folio 239r to 242r. Folios 222r-316r.

Commune Sanctorum. Folios 316r-336r.

Services of the Dead. Folios 336r-340v.

'Venite exultemus Domino'. In a similar hand to the Tonale. Folios 340v-345v.

An added quire containing lessons for parts of the Commune Sanctorum. Folios 346r-355v.

The manuscript is decorated with initials in colours of blue and vermillion with branchwork extending into the margins. Vermillion is used for stave lines as well as for passages of text. In some cases the vermillion text has been erased or obscured.

Many of the borders of the manuscript have been filled with drawings in 14th-century Scottish hands and show a Passion cycle, figures of saints and other details.

The majority of the drawings can be dated to circa 1350 by the short and tight-waisted surcoats worn by the knights, young men and thugs (folios 66v, 150v, 156v, 242v, 258v, 263v).

Art historians have identified other drawings by a skilled hand, possibly an illuminator's, which include a female crowned head (folio 37r, crudely repeated on folio 34r) which probably derives from an Ecclesia; a bishop, shown several times (folios 138v, 345v); a deacon (folio 164r); a king (folio 255r); and possibly a depiction of St John associated with a crude drawing of a knight (folio 242v).

On folio 150v St Lucy is shown stabbed through the throat by two soldiers, all bust length. There are several drawings of knights and youths of varying degrees of competence, and fairly crude drawings of a ship (folio 74r) and a church (folio 311v).

Some of the knights probably belong to the Passion cycle, as do the crude trees (folios 87r, 268v), since the latter example shows St Peter’s cock crowing.

Art historians also suggest that the quatrefoils on folio 168v give an idea of the original context of the numerous and much repeated Passion elements including several images of Christ on the Cross, the grieving Virgin and St. John (folios 103r, 104v), a man with the lance (folio 254v), a Mocking of Christ and Christ at the Column (folios 258v, 23r) and a grotesque Pilate or Herod ordering one of these episodes (folios 145v, 159v). These are generally in a much broader style and often drawn with a blunt pen lacking ink.

Many of the folios are soiled and damaged from use and from damp. Extensive repairs, both contemporary and modern, are evident throughout.

Each folio has been ruled recto and verso.

Prickings marking the horizontal lines of the text and music columns are evident on many folios, but not for the vertical lines.

Some folios have remnants of vellum tab attachments on the fore- edge of the leaves.