Did Henry VIII really get married on the day of Cromwell's execution?

Warning: Contains SPOILERS for Wolf Hall: The Mirror and the Light, episode 6.The end of Wolf Hall delivered a powerful and moving conclusion. The prestige historical drama returned this year after a long hiatus, but made sure the wait was worth it during season two. The finale employs a recurring theme that has become a trademark of the series: the striking juxtaposition of Henry VIII's death and marriages in Wolf Hall. This cyclical structure, evident from the first episode, reaches its peak as The execution of Thomas Cromwell (Mark Rylance) is dramatically offset by the marriage of Henry VIII (Damian Lewis) to Catherine Howard (Summer Richards).

This mirroring not only provides a sense of closure, but also draws compelling parallels between Cromwell and Anne Boleyn (Claire Foy), highlighting the ruthless nature of Tudor court politics and the precariousness of even the most powerful positions. Along with the artistic allegories used in Wolf's HallIn the artist's tapestries, the exhibition uses this visual and narrative technique to create a deep and lasting impact, highlighting their shared destinies – both ultimately discarded by a king driven by fickle desires and political expediency.

Cromwell's death is correctly juxtaposed with Catherine Howard dressed

Henry VIII actually married Catherine Howard on the same day

Henry VIII's chief minister, Thomas Cromwell, rose from humble beginnings to immense power in England. However, after orchestrating King Henry's ill-fated marriage to Anne of Cleves, Cromwell, despite initially being pardoned, fell victim to his enemies (via PRH). Although Henry had defended him from them until then, his anger towards the marriage made him more vulnerable to manipulation. They persuaded Henry that Cromwell was plotting treason, leading to his execution on Tower Hill, despite his desperate pleas, as he stated in his letters to Henry: “mercy, mercy, mercy,” – replicated in Wolf Hall.

Wolf Hall also depicts Henry VIII beginning his next marriage on the same day as Cromwell's execution; Incredibly, this is true. The date of both events was 28 July 1540. The wedding was at Oatlands Palace in Surrey; Catherine was formally recognized as queen at Hampton Court Palace on 8 August. The motto adopted by Catarina was “I don't have the will to be silent,“meaning”No other will than his.” At the time of his fifth marriage, Henry VIII was 49 years old, while Catherine was only 17. The French ambassador described dear Catherine as “delicious” (through The History of England).

The juxtaposition of death and marriage brings Wolf Hall full circle

Wolf Hall's narrative has a cyclical structure

The striking juxtaposition of death and marriage in Wolf Hall creates a powerful sense of closure, bringing the narrative full circle. Early in the series, viewers were confronted with a particularly potent example of this technique: the contrasting images of Anne Boleyn's execution intertwined with scenes of Henry preparing for his wedding to Jane Seymour (Kate Phillips). The program's visual presentation amplifies the historical reality of this quick remarriage, which took place just ten days after Anne's death.

This artistic choice transcends the mere historical account – it elevates Wolf Hall at the level of prestige drama. The poetic juxtaposition of these life-altering events – one ending in brutal finality, the other beginning with hopeful anticipation – speaks to the cyclical nature of power and the relentless march of time within the Tudor court. This masterful use of visual storytelling is a key contributing factor to Wolf Hallthe enduring appeal and widespread critical acclaim, solidifying its place as a compelling and thought-provoking historical drama.

Wolf Hall's full-circle moment parallels Cromwell and Anne Boleyn

Thomas Cromwell and Anne Boleyn were essentially written off

Another dramatic effect of the marriage and death narrative is that it compares the fate of Thomas Cromwell to that of Anne Boleyn. While Wolf HallHilary Mantel's source material is sympathetic to Cromwell, adapting it visually gives the mirrored fates of these two figures a poetic irony. The cyclical nature of the show emphasizes this, but it is not the only way they are mirrored. It is also obvious that, prior to their respective trials, both became less useful to Henry VIII. As Norfolk identifies in the episode, Henry is quick to write people off.

In Anne's case, it was a miscarriage that was the turning point for Cromwell to lash out and begin to build a compelling case against her. In Cromwell's case, the stage was set for Henry to become impatient with him in the previous episode. The long but emotional scenes of Wolf Hall finale, when Cromwell is talking to his accusers, shows the “evidence” of his betrayal, including Cromwell's supposed intentions to marry Lady Mary, as patently ridiculous. However, also echoes the fabricated evidence against Anne Boleyn and her brother Georgeshowing how Wolf Hall has Cromwell haunted by Boleyn's death.

Source: PRH, The History of England