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The project for a collective work devoted to music in Hainaut, which has since been abandoned, has provided an opportunity to revisit the controversy surrounding two epitaph portraits, which until now had been considered by many authors to have been those of the chapel master of Philip the Good, the canon of Soignies Gilles Binchois. The identification of Jan van Eyck’s famous painted portrait known as “Timotheos” in London inevitably rallied, as expected, the entire musicological world, with the signature of the inescapable E. Panofsky lending it further weight. Recent studies, however, leave no room for doubt on this matter: the model, who must undoubtedly be recognized as a member of the high administration of the ducal finances, could not have been a clergyman and, by extension, not the aforementioned Binchois. The identification of the canon depicted in prayer before an Annunciation on a white stone relief, now placed in the former cloister of the collegiate church of Soignies, as Binchois must also be rejected, as confirmed by the records related to his burial in his testamentary execution account, which is published in full here for the first time in an appendix. A closer look at this document may open up new perspectives regarding his familial and geographical origins.