ABSTRACT
Internal codicological evidence reveals much about the genesis of Florence 164–7 and the order of events followed in assembling the partbooks. For example, such evidence suggests rather conclusively that the compiler of Florence 164–7 had an unusually systematic scheme in mind when he set about to assemble his repertory and enter it into the four partbooks. At a macro level, that scheme is obvious: the first section is devoted to compositions with Italian texts, the second to those with French, and the third to those with Latin.
