4.1 The disposition of music sheets in the main body of P 200
4.2 P 200: last three bifolios (Bögen) prior to its acquisition by Poelchau
4.3 P 200: organization of sheets at the time of their deposit in the Royal Library
4.4 Bach’s ‘six-sheet’ group model
5.1 Ordering changes between the Autograph and the Original Edition
6.1 The first version of Clavierübung III
6.2 The second version of Clavierübung III
6.3 The third and fourth versions of Clavierübung III
7.1 Structure of the First Version of The Art of Fugue
7.2 Structure of the First Version, showing paper types
8.1 Structure of the Second Version of The Art of Fugue
8.2 Sheet structure of the Second Version of The Art of Fugue
9.1 A hypothetical additional binio allows the inclusion of new pair of mirror fugues for two claviers
9.2 Hypothetical unrealised plan of the entire Second Version
9.3 Hypothetical structure before the creation of the Third Version
9.4 Proposed hypothetical structure of The Art of Fugue (without the ‘draft’ canons)
9.5 A hypothetical interpretation of the phrase ‘einen andern Grund Plan’, scribbled on the verso of the last page of P 200/1–3
10.1 The Third Version of The Art of Fugue: structural options and solutions
10.2 The first set of four fugues
10.3 The order of pieces in the Third Version
11.1 The early subsidiary pagination of the group of canons
11.2 The second subsidiary pagination of the group of canons
11.3 The plan of the second half, before the insertion of Cp[14F]
11.4 The plan to insert Cp[14F] to the second half
11.5 The layout of the cycle’s second half after the insertion of the engraver copy of Cp[14F]
15.1 Paragrammatic correspondence between number of bars and the hypothetical title page