A mysterious modification to a 400-year-old playing card has sparked new speculation about William Shakespeare’s love life, following the authentication of a previously lost portrait by renowned Elizabethan miniaturist Nicholas Hilliard.
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The oval miniature, measuring just two and a quarter inches in height, was discovered by University of Warwick art historian Dr. Elizabeth Goldring in a private collection and has been confirmed to depict Henry Wriothesley, 3rd Earl of Southampton—Shakespeare’s patron and possible lover who may have been the “fair youth” referenced in the playwright’s sonnets.
Unusual Artistic Modification Raises Questions
The portrait’s most intriguing feature lies not in its front-facing image but on its reverse side, where what was originally a red heart playing card—typical for miniatures of the period—has been deliberately obliterated and painted over with a black arrow-like symbol.
Dr. Goldring, who spent eight months studying the artwork after being contacted by the private collectors, believes the modification may represent a spear—the symbol appearing in Shakespeare’s coat of arms rather than a conventional spade from a playing deck.
“The reverse of this playing card was originally a red heart, but most unusually, the heart has been deliberately obliterated and painted over with a black arrow,” Goldring explained. “It could, arguably, be a spade—but I think it more strongly resembles a spear, the symbol that appears in Shakespeare’s coat of arms.”
Historical Context and Dating
The miniature’s artistic style indicates it was created in the early 1590s by Hilliard, who served as Queen Elizabeth I’s favourite portraitist. The painting depicts Wriothesley with period-appropriate features that might initially suggest feminine characteristics to modern viewers.
“The Earl’s pearl earring, bracelets, beautifully embroidered clothing and long hair held close to his heart may present an initial impression of a woman, but this is a faithful representation of Wriothesley’s appearance,” Goldring noted, stating the historical accuracy of the nobleman’s fashionable presentation.
Shakespeare dedicated two major narrative poems, “Venus and Adonis” and “The Rape of Lucrece,” to Wriothesley, who scholars have long speculated might be the mysterious “fair youth” celebrated in many of the playwright’s 154 sonnets.
Private Art as Love Tokens
The discovery gains additional significance from the intimate nature of miniature portraits during the Elizabethan era, which served specific personal and romantic functions unlike larger formal portraits.
“Miniatures were inherently private artworks that were frequently exchanged as love tokens,” Goldring observed, suggesting the tiny portrait’s original purpose may have been deeply personal rather than ceremonial.
The authentication process began when the artwork’s owners contacted Goldring after reading her scholarly book on Hilliard, suspecting their collection contained work by the celebrated miniaturist.
Tantalising Theories About Personal Relationships
While acknowledging the impossibility of definitively dating the card’s defacement, Goldring offers a compelling interpretation of the evidence that could illuminate Shakespeare’s personal history.
“One tantalising interpretation might be that Shakespeare was the original recipient of the miniature but returned it to the Earl at some point,” she theorised. “Perhaps around the time of Southampton’s marriage in 1598 – with his personal mark firmly obscuring the heart.”
This scenario would explain both the symbolic modification and the portrait’s subsequent preservation within branches of the Southampton family for centuries, suggesting a deliberately preserved artefact of historical and personal significance.
Scholarly Authentication Process
The confirmation of Hilliard’s authorship is a significant art historical discovery, as works by the master miniaturist remain relatively rare and highly valued for their technical excellence and historical importance.
Goldring’s expertise in Hilliard’s techniques and style proved crucial in authenticating the work, which had remained unrecognised in private hands for an unknown period before the owners’ inquiry.
Literary and Historical Implications
The discovery adds material evidence to ongoing scholarly debates about Shakespeare’s personal relationships and the biographical context of his poetry. While the modification to the playing card cannot definitively prove any romantic connection, it provides a tangible artefact that may relate to one of literature’s most enduring mysteries.
The portrait’s survival and preservation within the Southampton family suggests it held particular significance beyond mere artistic value, supporting theories about the personal nature of Shakespeare’s relationship with his patron.
The find demonstrates how private collections continue to yield important historical discoveries, particularly when owners actively engage with academic experts who can properly identify and contextualise significant artworks.
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