We don’t know the source you are copying from, but I think you have been caught out by the fact that 18th century conventions for accidentals are not the same as 21st century conventions.
In the 17th/18th century, # and b simply meant “a semitone higher or lower” not absolute pitches as in modern notation. For example, in a score in G major, it was quite common for an F natural note to have a flat sign for the accidental, not a natural sign.
The attachment is a contemporary edition of Vivaldi (published in 1711) - note the C F flats instead of C and F naturals.
So your “6#” just meant “a semitone higher than the note in the key”, i.e. E natural instead of E flat.
But you are in good company getting confused by this. There were some instances in the early editions of Bach where the best bits of his modulations were deleted because people didn’t understand this convention, and thought some of the accidentals in the MS copies were typos!