For many the greatest depiction of Anne Boleyn on screen came at the end of 1969, when Anne of the Thousand Days was released in cinemas across the world. An epic historical drama based on the life of Queen Anne Boleyn starring Genevieve Bujold in the titular role alongside Richard Burton, as King Henry VIII. In this weeks bonus episode I will be taking a look back on Anne of the Thousand Days, looking at how it was made, behind the scenes dramas and why, I believe, it retains such a beloved place in the hearts of Anne Boleyn devotees.

With Wolf Hall Series 2 having completed filming and hopefully on our screens soon, I thought the time would be right to explore the lives of two of the men who owed much of their success to Cromwell, but would eventually go on to turn against him, these men being Thomas Wriothesley and Richard Rich. Both would become infamous for their unscrupulous and frankly cruel behaviour, using whatever means possible to reach their goals, both famously turned the wheel of the rack when Anne Askew was subjected to torture, but who were these two men, what were their early lifes like, how did they come to Cromwells service and why are they viewed as such major Tudor villains?

There are two sketches by Hans Holbein which are said to depict Anne Boleyn. One is in the British Museum, while the other is in the royal collection. The latter sketch is the more controversial, as the sitter is in a state of undress, has what appears to be blonde hair and a decidedly full double chin, and yet, the inscription labelling the sketch as her, is believed to have been added by Sir John Cheke, a man who personally knew Anne Boleyn, or did he? In todays episode of the Tudor Chest podcast, I am chatting to Emma Demerath who recently graduated from John Cabot University in Massachusetts, with a degree in Art History. Emma has discovered holes in many of the conclusions historians have made in relation to this sketch, but moreover, has examined the imagery on its reverse, which may very well hold the key to identifying the actual sitter of the piece.