《四箴页 七律诗页》合卷，明，沈度书，纸本，楷书纵29厘米，横14.5厘米；隶书纵23.2厘米，横34.2厘米。
楷书四箴页释文：
言箴：人心之动，因言以宣，发禁躁妄，内斯静专，矧是枢机，兴戎出好，吉凶荣辱，惟其所召，伤易则诞，伤烦则支，己肆物忤，出悖来违，非法不道，钦哉训辞。动箴：哲人知几，诚之于思，志士励行，守之于为，顺理则裕，从欲惟危，造次克念，战兢自持。习与性成，圣贤同归。视箴：心兮本虚，应物无迹，操之有要，视为之则。蔽交于前，其中则迁。制之于外，以安其内。克己复礼，久而诚矣。听箴：人有秉彝，本子天性，知诱物化，遂亡其正，卓彼先觉，知止有定，闲邪存诚，非礼勿听。
各页钤“沈度之印”。
“四箴”是宋代理学大师程颐根据孔子《论语·颜渊第十二》中“非礼勿视，非礼勿听，非礼勿言，非礼勿动”发展而成的道德戒律。朱熹《近思录》卷五《克治》载：“伊川先生曰颜渊问克己复礼之目。夫子曰非礼勿视，非礼勿听，非礼勿言，非礼勿动，四者身之用也，由乎中而应乎外，制于外所以养其中也。颜渊请事斯语，所以进于圣人。后之学圣人者，宜服膺而勿失也。因箴以自警。”
作品以乌丝界栏，楷法紧结遒丽，具唐人法度，又不过分甜润，是沈度“台阁体”书法的代表作。
隶书七律诗页释文：
鸡鸣紫陌曙光寒，莺啭皇州春色阑。金阙晓钟开万户，玉阶仙仗拥千官。花迎剑佩星初落，柳拂旌旗露未干。独有凤凰池上客，阳春一曲和皆难。云间沈度隶古。
款署“云间沈度隶古”。钤“沈民则”印。
此页录唐代诗人岑参七律《奉和中书舍人贾至早朝大明宫》一首。沈度善隶，但传世作品罕见。明杨士奇称其：“八分尤为高古，浑然汉意。”观此作，结体方整，用笔较少波磔与回转，体势、笔法更接近楷书，这也是明代隶书的主要特征。总体风貌显得厚重质朴而略乏生动。
此卷曾经清代乾隆、嘉庆、宣统御府鉴藏。1922年，末代皇帝溥仪将其“赏溥杰”，遂被携出皇宫。国立北平故宫博物院于民国二十三年（1934年）所编《故宫已佚书籍书画目录四种》对此事有所记载。1965年由故宫博物院出资购回。
《石渠宝笈·初编》著录。
--------Introduction in English--------
"Four Proverbs Pages and Seven Rhymes Poetry Pages" volume, Ming, Shen Dushu, paper, regular script 29 cm in length, 14.5 cm in horizontal; Li Shu 23.2 cm in vertical, 34.2 cm in horizontal.
Four Proverbs of Regular Book:
Proverbs: the movement of the people's hearts, because of the declaration, forbidden and impetuous, Ness Jingzhi, is a pivotal opportunity, good luck, good or bad, honor or disgrace, but its call, injury is easy to birthplace, injury is distressed, their own wanton things, contrary to the law, illegal and unjust, admiring the motto. Motivation: A philosopher knows a few things, is sincere in thinking, is inspired by ambitious people, keeps them in action, is reasonable and abundant, is willing but dangerous, and is afraid and self-restrained. Habits and accomplishments belong to the same sages. Inspection proverb: the heart is empty, should be traceless, do what is important, as the rule. In the first place, the former is the former, and the latter is the latter. Inside, outside. Restraining oneself and returning courtesy has been true for a long time. Listen to the motto: people have the nature of justice, the son of nature, the knowledge of inducement and materialization, and then die its righteousness, Zhuo Pi's prophecy, the perception of a certain, idle evil, sincerity, not to listen to non-courtesy.
Each page is "Seal of Shen Du".
"Four Proverbs" is a moral precept developed by Cheng Yi, a master of the Song Dynasty's Agency Studies, according to Confucius'The Analects of Confucius Yanyuan XII, "Do not look at, listen to, say or move without ceremony". Zhu Xi's Jinsi Lu Volume 5 Kezhi contains: "Mr. Yichuan said that Yan Yuan asked for the purpose of self-restraint and ritual restoration. Confucius said, "Do not look at, listen to, or move without ceremony." The use of the four bodies is from the middle to the outside, so they are kept inside. Yan Yuan asked for help, so he entered the sage. Those who learn from saints after them should serve them without losing them. Because of the precepts, we should warn ourselves.
The work is a representative work of Shen Du's "Tai Ge Style" calligraphy, with Wu Si Jielan, tight and beautiful regular script, Tang Dynasty style and not too sweet.
Explanation of seven-law poems in Li Shu:
Chicken crows, purple moors, cold dawn, Yingzi Huangzhou spring appendix. Jinque Xiaozhong opened thousands of households, and Yujie Xianzhang supported thousands of officials. Flowers greet swords and worshippers at the beginning of the fall, while willows flutter and flag dew is still wet. Unique Phoenix Pool visitors, Yangchun a song and difficult. Intercloud Shendu Ligu.
Department of Finance "Yunjian Shendu Ligu". Jun "Shen Minze" seal.
This page contains one of the seven laws of Cen Shen, a poet of Tang Dynasty, "Jia Zhizhi Daming Palace in Fengzhong Shushe". Shen Du Shanli, but his handed down works are rare. Yang Shiqi of the Ming Dynasty called it "Eight points are particularly ancient and Chinese." Looking at this work, it has a neat structure, fewer waves and turns with the pen, and its posture and style are closer to regular script, which is also the main feature of Li Shu in Ming Dynasty. The overall style seems heavy and simple but slightly less vivid.
This volume was collected by Emperor Qianlong, Jiaqing and Xuantong in Qing Dynasty. In 1922, Puyi, the last emperor, brought him out of the palace. Four Catalogues of Lost Books, Calligraphy and Painting of the Palace Museum, compiled by the National Palace Museum in 1934, recorded this event. In 1965, it was bought back by the Palace Museum.
Description of Shiqu Baodu Preliminary Edition.