The image below is the frontispiece of a manuscript titled Crónica dos Feitos da Guiné written by the Portuguese chronicler Gomes Eanes de Zuara.
The manuscript was commissioned by Portugal’s King Afonso V and records the recollections of his uncle Henry the Navigator and Portugal’s maritime exploration during the first half of the 15th century.
The original manuscript was completed in 1453 but a century later declared missing or lost. However, in 1839, an intact and preserved copy was rediscovered in the Royal Library of Paris. The Paris Codex includes the frontispiece shown above. It is presented as a representation of Henry the Navigator. Since its discovery the portrait has served as the basis of multiple other images depicting Henry.
That the portrait was of Henry was seemingly confirmed with the rediscovery in 1882 of the St Vincent Panels at the monastery of St Vincent de Fora in Portugal. In what is known as the Panel of the Prince is a mirror image of that shown in Zuara’s Chronicle of Guinea.
For almost a century Infante D. Henrique was the general consensus of researchers and historians for the identity of the figure wearing the Burgundian style chaperon and that the illustration in the Zuara chronicle was the source for the mirror image in the St Vincent Panels attributed to the Portuguese painter Nuno Gonçalves.
But in the 1980s two researchers presented a new suggestion for the identity of the figure in the Panel of the Prince… King Edward of Portugal. This raised the question as to which of the two representations was painted first, and was the Paris Codex version added later. The frontispiece is an intact folio and part of the original manuscript. But that doesn’t exclude the possibility the illustration was painted on a reserved blank page at a later date.
So was the Paris Codex image produced after the completion of the St Vincent Panels? If so, this could place a question mark over the completion date of the St Vincent Panels and possibly the accepted attribution to Nuno Gonçalves. My understanding is the the St Vincent Panels panels were produced by the Flemish painter Hugo van der Goes who included his own image in the Panel of the Prince, above and to the right of the figure considered to be Prince Henry.
Henry, or his brother Edward, is moustached. There is a written record that Edward was moustached at some time in his life. Most images of Edward depict him with a full beard but his tomb effigy portrays him as clean-shaven. Henry’s effigy is also without a beard or moustache. Bearing in mind it is highly unlikely Hugo ever set eyes on Edward before the King died of the plague in September 1438, so if Van der Goes is the originator of the St Vincent Panels, where did he locate his source for the image of Edward or Prince Henry?
A clue to the source is portrayed in the panel itself. Some researchers believe the figure on the extreme left of the back row is the painter of the panels Nuno Gonçalves. It’s not. It’s the artist Petrus Christus who took over the workshop of Jan van Eyck after the Flemish master died in July 1441.
If Hugo van der Goes is the painter who produced the St Vincent Panels, then this could be the work and the artist that the German humanist Hieronymous Münzer referred to in his diary after visiting Ghent and wrote, “another great painter was driven mad and melancholy” attempting to emulate Jan van Eyck’s Ghent Altarpiece. Hugo wasn’t mentioned by name, but historians generally agree Münzer was referring to Van der Goes.
Hugo has mirrored several references and themes from the Ghent Altarpiece in the St Vincent Panels, so it should be no surprise to find the work of Petrus Christus is also reflected in the panels, particularly the Panel of the Prince.
There are at least five references to the works of Petrus Christus in the panel, but one in particular relates to the image of KIng Edward / Prince Henry. A pointer to this work are the unusual silver sleeves of the bald-headed man standing behind the figure believed to be St Vincent. The sleeves protect his forearms because he is portrayed in one guise as a falconer. Silver and falconer are pointers to the silver-point portrait, Man and his Falcon by Petrus Christus.
Elements of this drawing are incorporated into the Edward/Henry portrait. The face in the drawing is a younger version (but let’s discard Henry and replace him with the brothers’ father instead, King John I of Portugal, because the panel image is, in fact, a double portrait which I shall explain in a future post).
The low eyebrows and hooded eyelids can be matched, so can the thin upper lips and pronounced lower lips. But perhaps the most telling feature is the strong similarity of the ears. Hugo has adapted the firm brim of the hat to feature instead as the moustache, while Hugo adapts the falcon at the shoulder into an image of himself standing just behind the man in the chaperon representing John and his son Edward.
There are more elements in the drawing that link to other features and figures in the panel but better discussed as a separate topic in a future post.
So who is the man with the falcon in the silverpoint drawing? He bears a remarkable resemblance to the Burgundian duke Philip the Good who in 1430 married Isabella, daughter of King John I and sister of Edward. Compare the silverpoint drawing with two paintings of Philip by Rogier van der Weyden. Observe the large and similar ear, the low eyebrows and hooded eyes, the thin upper lip and full lower lip. Could the falcon dawng be a depiction of Philip the Good?
If so, then the kneeling woman in the Panel of the Prince could be said to be Isabella with her mother Philippa standing over her, and her father John, brother Edward and husband Philip all represented in the figure wearing the chaperon. This intimate connection could suggest that the painting may have been originally commissioned by Isabella herself. She died in December 1471. Petrus Christus died sometime in 1475 or 1476. Hugo van der Goes closed his workshop around 1477 and joined the Roode Klooster as a lay brother where he continued painting until his death, thought to be around 1482.
The date attribution for the silver point drawing is 1450. It’s kept at the Städelsches Kunstinstitut in Frankfurt.