The Face: A Cultural History by Fay Bound-Alberti delves into the belief that someone’s appearance can reveal what kind of person they are. King Richard III is a good example. There was a Tudor tradition that portrayed Richard as cruel and corrupt and his unusual body became part of that image. Richard actually had scoliosis, but later descriptions exaggerated his appearance, connecting physical difference with moral ugliness. Unflattering portraits of him painted his personality as ruthless, as if a tight mouth or severe expression could somehow confirm that he was evil.
Anne Boleyn’s story shows how controlling a face could also mean controlling someone’s reputation. After Henry VIII executed her in 1536, her portraits were removed and destroyed. No verified portrait painted during her lifetime survives today. Later images were created from earlier likenesses or descriptions, while stories about her appearance became increasingly hostile. One famous claim that she had six fingers appeared years after her death. Her physical appearance became part of the argument over what kind of woman she had been.
First impressions are strong and long lasting. We still describe people as looking trustworthy, intimidating, innocent, arrogant, or suspicious within seconds of seeing them. A face gives us clues about details such as expression and approximate age, but it cannot reliably reveal whether someone is honest, cruel, intelligent, or morally good. These judgments feel instinctive. Centuries of portraits, stories, and theories about faces have taught us to search for character in appearance. Richard III and Anne Boleyn show how powerful that assumption can become when a superficial image starts to shape the story we tell about the person behind it.