For over 200 years, art historians and the like have pondered and debated over the true likeness of the most famous playwright/poet in English history, William Shakespeare (1564-1616). Since his death, there have been many who have battled to prove this painting or another as a "real" portrait of Shakespeare.

Only one rendition has received international exposure, a 1623 engraving by Martin Droeshout the Younger, from the First Folio (think of Barnes & Noble mugs) and one other, his tomb effigy, were commissioned after his death by his family and contemporaries. An 1856 painting called the Chandos portrait, most noted as an authentic painting, has yet to be undeniably proven and is still very much debated to be a true work of his likeness.

The Chandos and five other key portraits, along with materials related to Shakespeare's life in Stratford-upon-Avon and London, his contemporaries and Elizabethan theater and stagecraft, were recently presented at The Yale Center for British Art. Originally conceived at the National Portrait Gallery in London and curated by Tarnya Cooper, the New Haven collection was organized by Elisabeth Fairman and the only exhibition of this kind in the United States. In the exhibit, many facets of Shakespeare's life are displayed including manuscripts and letters by Shakespeare, rare books, coins, maps, costumes and stage designs for his work on the Globe theatre and his "Last Will and Testament." A book by Stephanie Nolan entitled Shakespeare's Face, researches many of the key portraits, painted since his death in 1616 to the present, cleverly illuminates valuable insight on the topic.

Displayed next to the Chandos, is the Sanders painting, which may in fact be an authentic portrait of a younger Shakespeare. On loan by owner Lloyd Sullivan from Ottawa, Canada, the painting, handed down from generation to generation in his family over the last 400 years, has a plausible date as 1603 and is (supposedly) signed by "Shakspere" himself with his correct date of birth and spelling of his name. Recent technical analysis by 12 different methods, including testing the wood of the frame, the paint and the glue, along with a more general analysis of age and even personal characteristics support Sullivan's claim of authenticity. Personal traits such as his eyes, which appear tired and with dark circles, perhaps because he worked under poor lighting, prevalent in those days, and the constant travelling that his profession assumed allude to this. Only one more test is needed to truly authenticate the painting: an analysis of the DNA of the ink used in Shakespeare's signature said to be 400 years old. Testing will be done by Chrome Associates in Chicago, the same company that proved the ink used in the "Gospel of Judas" and the "Shroud of Turin" were authentic. Sullivan will be publishing a book entitled Sandars Shakespeare at the end of 2007, about the same time a documentary film will be released on TV.

With so many portraits being commissioned during the 1590s, and as Shakespeare was already famous having written several plays and poems, why didn't he have his portrait painted? Many of his contemporaries have portraits hanging on museum walls. One reason may be that he did, but they were kept secretly by his family and lost over the years (as in the case of Sullivan.) The most likely reason is due to the tumultuous political energy during the day (Elizabeth I reign) and the charges of heresy running rampant in his artist community, condemned by torture and death via the Tower of London, Shakespeare was afraid to have a public piece circulated. When he was younger, some in his family were killed because of accusations of heresy and because he was a writer and performer in public theatre, exposing very controversial issues, he did not want family or friends to be implicated in connection with his work. Much of his work is said to be in code and the novel Shadow Play: The Hidden Beliefs and Coded Politics of William Shakespeare, written by Clare Asquith, uncovers many truths to Shakespeare's mysterious life and work.

It is time to expose a true artist... in his writings and his face... with time and proof, we will all finally find the verity of a legend.

For more information, contact the Yale Center for British Art, 1080 Chapel Street, New Haven, CT, 203.432.2800, www.yale.edu/ycba.