Brown, partially gilt leather binding on pasted paper boards, with the front and back boards decorated in the same manner. Along the edges of the boards runs a decorative roll measuring approximately 17.5 × 1.8 cm, engraved with four small images accompanied by inscriptions. These depict David, the Jewish king, wearing a crown and holding a harp, with the inscription “De fructu ven,” referring to Psalm 131:11 (De fructu ventris tui ponam super sedem tuam – “Of the fruit of your body I will set upon your throne”); Salvator, Christ the Redeemer, shown with a halo, cross, and orb, with the inscription “Data est mihi,” from Matthew 28:18 (Data est mihi omnis potestas in caelo et in terra – “All authority in heaven and on earth has been given to me”); the Apostle Paul with the inscription “Apparuit be,” referring to Titus 3:4 (Cum autem benignitas et humanitas apparuit salvatoris nostri Dei – “But when the goodness and loving kindness of God our Savior appeared”); and Saint John the Baptist with the inscription “Ecce agnus Dei,” from John 1:29 (Ecce agnus Dei qui tollit peccatum mundi – “Behold the Lamb of God, who takes away the sin of the world”).

An empty frame surrounds the central field, which is filled with a finely engraved Renaissance floral interlacing vine ornament, the motifs arranged back to back. On the front board the gilding is brighter and the execution somewhat more precise than on the back board, where the impressions are slightly misaligned. The volume has very fine gilt and punched edges, enriched with vines and rosettes. The spine features three small double raised bands, and the headbands are cross-stitched in two-coloured cotton. In the first compartment of the spine there is a paper label bearing the book’s details; the second compartment contains a painted letter “D,” and at the bottom appears the number 74.

The binding was made a few years after the book was printed, either in Augsburg, as suggested by the Renaissance central ornament, or possibly in Dresden, based on the decorative roll, perhaps in the workshop of Jakob Weidlich, a predecessor of Krause. Even Haebler knew little about him, though his activity can be documented from 1548 onward. Among Weidlich’s decorative tools there is a roll very similar to the one used here. The most famous German binder producing the finest Renaissance-style bindings, Jakob Krause (1526–1586), also moved from Augsburg to Dresden around 1560 at the invitation of Augustus, Elector of Saxony, bringing with him and establishing the Italian-style vine and interlace decorative motifs that subsequently influenced other Dresden workshops as well.
On the back board, a later red–white–green painted motif appears in the center, which probably relates to the fact that the book was used in Hungary. This is also confirmed by the manuscript ink inscription on the title page: Ex dono Generosi Domini Joannis Kecskes / Collegij Societatis Jesu Posoniensis / Catalogo inscriptus / 1639, meaning that the book was given as a gift by the nobleman János Kecskés to the Jesuit college in Pozsony (Bratislava), where it was entered into the catalogue in 1639. The shelfmark C VII 21 is visible on the pasted front endpaper.

NO EXPORT