Most of Paolo's music was published in modern editions in the 1970s, making it easily available, and as a result he has received more than the usual amount of critical attention.
The most puzzling question about any source of Paolo's music is the presence in the Squarcialupi Codex, the compilation of which he probably supervised, of thirty-two pages, all with his name on the top, his portrait in the front, and containing nothing but empty staves.
Hoppin (p. 466) suggests that Paolo actually was outside of Florence when the manuscript was compiled, in the service of Cardinal Angelo II Acciaioli, and this may account for the missing music.
Paolo's madrigals combine Italian and French notation, and show considerable influence of the Avignon mannerist school of the ars subtilior in their complex and intricate rhythmic patterns; however most of them are for only two voices, a conservative choice.
The influence of Landini, hard to avoid for any Florentine composer late in the 14th century, is evident both in the madrigals and the ballate.