The border design is composed of an arcade featuring four distinctly patterned columns. The arches are surmounted by a balustrade that supports flower- ing urns, blank medallions, floral scrollwork, and a variety of birds including a crowned double-headed eagle and a peacock. Scenes from the Esther narrative are positioned beneath each of the nineteen columns of text. In these illustrations, Griselini has devoted particular attention to architectural settings and spatial perspective. The artist’s printed sig- nature is found in the lower left corner of each membrane. This engraved border design was popular in Italy in the eighteenth century as demonstrated by two similar scrolls in the Braginsky Collection: an unsigned scroll of superior artistic quality (Braginsky Collection Megillah 11) and a small megillah with a related design (cat. no. 100).

One of the most striking images in this group of scrolls is the last illustration, placed under the final arch, where the concluding benedictions usually are written. It depicts the Messiah heralding the return of the exiled Jewish people back to the walled city of Jerusalem. This representation of messianic redemption, not commonly found in decorated megillot, is intended to elucidate the final blessing, which appeals to God to bring salvation. The image is copied directly from a Haggadah first printed in Venice in 1609, and reprinted many times over the next two centuries.