What Was Thomas Cromwell's Tapestry Shown In Wolf Hall? Art History Explained (2024)

​​​​Warning: Contains SPOILERS for Wolf Hall: The Mirror and the Light, episode 3

In a haunting twist, the second season of Wolf Hall weaves a real historical artifact into its narrative. The stunning tapestry, once owned by Cardinal Wolsey and later by Thomas Cromwell, takes center stage in episode 3’s final scene. Much like the book Jane Seymour was reading in the preceding Wolf Hall episode, the piece has a real historical basis.

This Flemish masterpiece, dating back to the 15th century, becomes a poignant symbol of Cromwell's past and the ghosts that continue to haunt him. The tapestry serves as a metaphor for several themes in the series, such as the ghosts of Cromwell’s secret past, Henry VIII’s marriage and dynastic concerns, and the plight of Anne Boleyn.

Wolf Hall Season 2, Episode 3 Features A Real Tapestry

The Piece In Cromwell's Home Is A Real Flemish Tapestry

Thomas Cromwell, usually the picture of Stoicism, is being haunted by his past in season 2 of Wolf Hall. One of these hauntings comes in the form of a real tapestry that Cromwell owned. It is brought to attention by a visitor in the final scene of episode 3. The visitor, Jane, recognizes her mother, Anselma, in the tapestry. This prompts Cromwell to explain the backstory of the tapestry’s journey.

Cromwell had been so transfixed by the portrayal of the Queen of Sheba in the tapestry that King Henry VIII suggested he keep it in his home. The tapestry had previously belonged to Cardinal Wolsey, Thomas Cromwell’s mentor who haunted him in episodes 1 and 2. Jane then reveals that she is Anselma’s daughter and that Cromwell is her father, leaving the episode on a gripping cliffhanger. This follows speculation about his other romantic connections, such as his alleged intention to marry Wolf Hall's Lady Mary.

As a fascinating tidbit for fans interested in learning more about the period, this particular tapestry is a real artifact in Tudor history. The piece, which shows the Queen of Sheba encountering King Solomon, is Flemish in origin. It was made in the late 15th century and is currently located at the Grobet-Labadié Museum in Marseille, France, adding to the historical authenticity of the drama.

The Sheba And Solomon Tapestry Brings Wolf Hall Full Circle

The Tapestry Is Used Cleverly To Bind Cromwell To Anne Boleyn's Story

This is not the first time the Flemish tapestry has been featured in Wolf Hall. It was also featured in season 1 but, nine years after the original Wolf Hall episodes, viewers would be forgiven for forgetting. Like many other details in the new season, the background is reiterated in the dialogue – however, unlike Henry’s initial courting of Jane Seymour, it does not get a flashback scene in the episode.

In both the show and its source material, Hillary Mantel’s Wolf Hall and Bring Up The Bodies, the tapestry is woven throughout the narrative. It is used to mirror Anne Boleyn’s tragic journey. Firstly, she meets Wolsey, who prevents her marriage to Henry Percy. Then she marries Henry VIII. Finally, Cromwell had a large role in her condemnation. Reflective of this narrative, the Sheba and Solomon tapestry first belongs to Wolsey, then to Henry, and then to Cromwell.

This brings Cromwell’s story full circle because of his guilty conscience regarding both Boleyn and Wolsey. Whereas Wolsey’s ghost is featured in episodes 1 and 2, it is Anne’s that haunts him in episode 3. Her ladies appear as apparitions in Cromwell’s room, holding her head from the Boleyn execution shown in Wolf Hall season 2's opening. Anne and Henry’s romance was paralleled with Sheba and Solomon’s in the period, making the tapestry’s reappearance all the more poetic.

Henry VIII’s Abraham Tapestries Show He Identified With Biblical Figures

The Depiction Of Solomon Specifically Was Commissioned By Henry

The tapestry shown in the Wolf Hall episode is one of the many remarkable tapestries of Hampton Court Palace. In particular, this is an example of an Abraham tapestry. Henry VIII did not just have a total of six wives at his court; he also had six enormous Abraham tapestries. This shows a particular interest in and identification with biblical figures, including King Solomon, whose power is ordained by God.

This is particularly significant given the context of the Reformation and Henry’s break with Rome. Tapestries were both a status symbol and an important vehicle for storytelling in the Tudor court. It is believed that Henry commissioned the Abrahams in 1541 (per HRP). Henry identified with Solomon because he wanted to be known for his wisdom and judgment. In addition, being appointed to rule in God’s place is another deliberate parallel. Upon breaking with the authority of Rome, Henry needed to emphasize his divine right.

The crucial context to understanding this is the reign of his father, Henry VII. Henry VII founded the Tudor dynasty and his grip on power was tenuous. He claimed the throne not only through inheritance but by the conquest of Richard III, seizing power from the Yorkists. He reinforced his right to the throne through a marriage alliance and, more importantly, his assertion that God determined his victory. Following in his father’s footsteps, Henry VIII’s establishment of the Church of England was a monarchical absolutist move – with profound implications beyond Wolf Hall's story.

Source: HRP

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Wolf Hall

Drama

Cast

Mark Rylance , Damian Lewis , Claire Foy , Thomas Brodie-Sangster , Joss Porter

Release Date

January 21, 2015