The articulation of cadences in sixteenth-century European music relied on the formula of third to unison intervals (if the parts are flipped, then it's sixth to octave). In each example just the beginning of a phrase in two voices is shown, followed by the cadence.
Here is an example from literally thousands of pieces showing the treatment of these figures. This is the fifth of Thomas Morley's Duets for Two Viols. In the opening phrase (mm. 1-5), a sixth (marked in m. 4) "prepares" a suspension dissonance that resolves into the 6 of the cadence: asterisks mark the 6-8. In the second phrase, similarly, a third D-F "prepares" a 2-3 bass suspension and the cadential 3-1 follows (note that the lower notated voice is actually higher in pitch at this point).
And here are the final two phrases, in which the cadence types are reversed: 3-1 first, then 6-8. Again note that the second cadence has the lower notated voice higher in pitch. Indeed, it is one of the uncommon instances of a rising cadential figure in notated ("art") music in the centuries before 1800.
Far more common in the sixteenth and early seventeenth centuries is to bring a string of parallel sixths down, often with suspensions, toward the 6-8. The example below is from the fifth of the texted bicinia (sometimes called "duets") of Lassus. Four sixth intervals in a row, three with suspensions, make for an inexorable drop to the cadence, and it is only the sudden turn to the final octave that stops the progression (and is a big part of the expressive and formal point).
