Barbara Strozzi’s Sacri musicali affetti of 1655 is part of a vastly larger repertoire of Latin liturgical and nonliturgical sacred texts published and widely disseminated in seventeenth-century Italy. Her print fits within the category of non-liturgical texts, most often referred to as motets, sacri cantiones, or concerti ecclesiastici. Within this category there is a special subgroup of motets exclusively for solo voice and continuo (typically an organ, sometimes with the addition of other instruments), of which at least 163 other examples survive between 1608 and 1715. This subgroup is characterized by diverse aspects of general style, such as melodic typologies (arioso, aria, recitative, syllabic declamation, melismatic ornamentation, vocal virtuosity, ) and approaches to musical structure (ABA, AABB, ABB, strophic, through- composed, refrains, instrumental ritornelli, sectional shifts between duple and triple meters, changes of tempo, motivic patterns treated sequentially, sustained harmonic support of the vocal line or active bass lines in counterpoint with the vocal part, transposition of motives or longer passages, and tonal organization of segmented compositions. Examples of specific solo motet collections serve to highlight changes in style and structure from the first publication to Strozzi’s at mid century.