rself. It must, therefore, be permitted me, out of such few hints and
scattered notices as remain, to collect such information as may be trusted
respecting her early life before her appearance upon the great stage. These
hints are but slight, since I shall not even mention the scandals of
Sanders, any more than I shall mention the panegyrics of Foxe; stories
which, as far as I can learn, have no support in evidence, and rest on no
stronger foundation than the credulity of passion.

Anne Boleyn was the second daughter of Sir Thomas Boleyn, a gentleman of
noble family, though moderate fortune;[179] who, by a marriage with the
daughter of the Duke of Norfolk, was brought into connection with the
highest blood in the realm. The year of her birth has not been certainly
ascertained, but she is supposed to have been seven years old[180] in 1514,
when she accompanied the Princess Mary into France, on the marriage of that
lady with Louis XII. Louis dying a few months subsequently, the princess
married Sir Charles Brandon, afterwards created Duke of Suffolk, and
returned to England. Anne Boleyn did not return with her; she remained in
Paris to become accomplished with the graces and elegancies, if she was not
contaminated by the vices, of that court, which, even in those days of
loyal licentiousness, enjoyed an undesirable pre-eminence in profligacy. In
the French capital she could not have failed to see, to hear, and to become
familiar with occurrences with which no young girl can be brought in
contact with impunity, and this poisonous atmosphere she continued to
breathe for nine years. She came back to England in 1525, to be maid of
honour to Queen Catherine, and to be distinguished at the court, by general
consent, for her talents, her accomplishments, and her beauty. Her
portraits, though all professedly by Holbein, or copied from pictures by
him, are singularly unlike each other. The profile in the picture which is
best known is pretty, innocent, and piquant, though rather insignificant:
there are other pictures, however, in which we see a face more powerful,
though less prepossessing. In these the features are full and languid. The
eyes are large; but the expression, though remarkable, is not pleasing, and
indicates cunning more than thought, passion more than feeling; while the
heavy lips and massive chin wear a look of sensuality which is not to be
mistaken. Possibly all are like the original, but represented her under
diff