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This article proposes a philological study of two ballads (77 and 71 I) from the musical “Cyprus Codex” (Ms. Torino, BNU, J.II.9). Each of them is a rewritten version of a courtly chanson dating back to a period between the end of the twelfth and the second half of the thirteenth century: Ire d’amors qui en mon cuer repaire by Gace Brulé and Se j’ai chanté sans guerredon avoir by Robert de Castel respectively. A comparison of the “Cypriot” pieces with these chansons highlights the techniques that the author used to insert and modify quotations, by offering some information on the sources that he might have consulted. Furthermore, the examination of these variants helps to advance the theory that the composer relied on a copy of the chansons close to the one that had been provided by chansonnier U from Lorraine, which invites speculation that he had contact with North-Eastern France or that he came from that region originally.