A recent study of a significant portrait of Anne Boleyn, the second consort of King Henry VIII, indicates that its creation aimed to restore her reputation posthumously. Using advanced infrared reflectography, art historians and curators have found evidence suggesting the painting was intentionally designed to refute widespread allegations that Boleyn was a witch, specifically addressing a rumor that she had six fingers.
The portrait, displayed at England's Hever Castle, clearly shows both of Boleyn's hands with the standard number of digits. However, the infrared scans revealed that the initial underdrawing for the artwork did not include her hands, implying that the unidentified artist deliberately added them later. This modification points to a conscious decision to deviate from the preliminary sketch to counter the negative narratives surrounding her.
This particular painting is believed to be the earliest existing depiction of Anne Boleyn, dating back to approximately 1583, during the reign of her daughter, Queen Elizabeth I. Historians theorize that its creation served as a direct response to accusations, notably from activist Nicholas Sanders, who sought to discredit Elizabeth I by maligning her mother. The portrait therefore served as a powerful visual statement, reclaiming both Elizabeth's legitimacy and her mother's honor, showcasing how art was strategically employed to influence public perception and solidify political standing.
The strategic creation and dissemination of Anne Boleyn's portrait highlight the enduring power of art as a tool for shaping public perception and defending reputations. This historical act of image rehabilitation underscores the importance of truth and integrity, reminding us that even in the face of malicious rumors, an intentional effort to present facts and positive narratives can prevail, leaving a lasting legacy of resilience and affirmation.