The present essay explores the cantus firmus use, structure, style and origins of a three-voice Kyrie and Gloria in Trent Codex 89, both of which use the Tenor of Conrad Paumann's lied Wiplich figur as their cantus firmus. Both movements may have been part of a Mass cycle which now lacks its subsequent movements. Comparisons are drawn between these movements and the similar Missa Wünschlichen schön in order to suggest that the two works may be the work of the same anonymous composer. Further comparisons are also made with works in the Strahov manuscript, Trent 89 and Trent 88, suggesting that at least some of the latter might also be the work of the same man.