Previously, the motets in the collection were not considered to be isorhythmic, as it was felt that the first isorhythmic motets—those of Philippe de Vitry—were not to be composed until the first decades of the 14th century. Recently, however, Michael Lanford has noted that "of the 148 double and triple motets in fascicles two through five of the "Montpellier Code"x, 114 have repeating colores." After analyzing several motets, he also demonstrates that "each of Richard Hoppin's 'three isorhythmic procedures' which inform 'future developments of the form' can be found in select tenors from the Old Corpus the "Montpellier Codex", often in ways that demonstrate resourceful approaches to managing the rhythmic modes." For these reasons, Lanford contends that "by glossing over the presence of isorhythmic techniques in thirteenth-century motets, such as those found in fascicles two through five of the "Montpellier Codex", scholars have thus limited the appellation of 'isorhythm' using criteria that is well-reasoned, yet perhaps unnecessarily restrictive."