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Stated simply, nobody had ever unearthed a work of genius with de Vere’s name stamped on it. Nor did we have an ad vivum painted portrait of Edward de Vere, only a seventeenth-century copy of a now lost circa-1575 portrait (artist unknown) that showed the earl posing beneath a wide-brimmed sugarloaf hat. A French cloak of gold braid (a proper dandy changed cloaks three times a day) was thrown over the left shoulder of a gold doublet uniquely tasseled at the wrist. Welbeck Abbey lent this portrait of de Vere to London’s National Portrait Gallery back in 1964, and for as long as I kept tabs on it, that portrait remained hidden inside an NPG storehouse in Wimbledon in spite of great public interest in de Vere. Was the NPG worried that tourists might flock like maenads to this dashing portrait of de Vere instead of ogling over the greatly unbeloved Chandos?
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Lee Durkee (Stalking Shakespeare: A Memoir of Madness, Murder, and My Search for the Poet Beneath the Paint)