Domenico Cavalca's literary activity and his importance in Italian literary history have been questions discussed, at times even hotly, since the dawn of Italian literary historiography. However, it was only in 1905, when Guglielmo Volpi in his “Questione del Cavalca” outlined a program for future study of Cavalca's writings, that these may be said to have become a recognized field for scholarly research. The program then outlined by Volpi has in part been carried out. Alfonso Zacchi did pioneer work over a broad field, clearing the ground and opening up the question of the sources. Continuing Zacchi's work, Carmelina Naselli carried it further into the field of Cavalca's life and circumstances. Neither Zacchi nor Naselli, however, made a thorough study of Cavalca's sources, or of his manner of handling them—an aspect of the Cavalca question which calls for further elucidation, as Volpi did not fail to perceive. Nor did the afore-mentioned writers undertake to decide definitively, as Volpi (p. 318) suggests should be done, “se alcune opère attribuite al Cavalca per congettura possano esser sue.” These are the subjects I have chosen to investigate here.