[1] The copyist signed at the end of the manuscript on folio 172v: Hic calamus facto Liuthardi fine quievit ("Here, its job done, Liuthard's pen rested").

Liuthard is in fact responsible for the copying of several manuscripts produced at the same time for the same sovereign: the Codex Aureus of St. Emmeram in 870, or the gospels today preserved in Darmstadt (Landesbibliothek, MS 746).

[2] The royal scriptorium in question, whose precise location is not known, need not have accommodated a large number of artists because the decorations of the manuscripts show great homogeneity.

It consists of two gilded silver plates on oak boards, decorated with stones, pearls and glass paste, framing two ivory plaques.

These two plaques are representative of the “Liuthard style”, named after the copyist of the manuscript, and their motifs are inspired by illustrations of the Utrecht Psalter, which dates back to the years 845–855.