'You're a snake, Cromwell,' says Margaret Pole.

'No, I'm a dog, madam,' Cromwell replies.

This memorable exchange opens the trailer for the BBC's Wolf Hall: The Mirror and the Light, the eagerly awaited second series adapting Hilary Mantel's Wolf Hall trilogy.

Born around 1485, Thomas Cromwell remains a figure shrouded in controversy. Often vilified and hated, his legacy is undeniably complex, and his role in the downfall of Anne Boleyn was the main focus of series one of Wolf Hall. In this second series, the narrative shifts to Cromwell's own decline, including his inability to remain in Henry VIII's favour.

The trailer for this second series highlights two key themes: Cromwell as Henry VIII's loyal 'dog' or puppet, and his role in executing the king's harsh orders.

In most portraits, Cromwell is represented as the formidable English statesman and lawyer he was.

In this portrait, Cromwell appears stern and commanding, a man of significant influence.

Thomas Cromwell (c.1485–1540), Earl of Essex

He is not depicted as a nobleman or someone of aristocratic lineage. Instead, his dark, sombre robe and the well-known religious hat – consistently featured in the show – emphasise his dedication to service and loyalty. The paper he holds likely symbolises his deep ties to the country's lawmaking.

Thomas Cromwell is always portrayed with his hat on – a symbol of his status, his allegiance to the church, and his unwavering commitment to the laws of the land.

In this portrait, Cromwell is depicted in the exact same attire as in the previous one.

These two images collectively portray him as a pivotal figure who not only supported but, in many ways, orchestrated and advanced the English Reformation.

The trailer of the second series of Wolf Hall hints at another crucial theme: the potential rivalry between Henry VIII and Cromwell. If such a rivalry did exist, it might explain certain details in Cromwell's portraits.

This portrait, housed at Corpus Christi College, Cambridge, captures Cromwell in his full splendour.

Thomas Cromwell (1485–1540), 1st Earl of Essex, Chief Minister to Henry VIII

He wears an impressive necklace adorned with Tudor roses and what appears to be gold, signifying his elevated status. The title is clear: this was painted after he was made Earl of Essex, and he is clearly represented as the Chief Minister to Henry VIII. The image radiates power and glory. Remarkably, it is one of the few portraits where Cromwell is shown wearing jewellery – almost a symbol of aristocracy, or even royalty.

He is depicted as the second most important man in England, a status that might hint at underlying tensions between him and the king, given Henry VIII's notorious suspicion of his closest servants.

In the most famous painting of Cromwell, he does not wear the grand necklace. Instead, he is once again presented as a man of law, order, and religious devotion, with a prominently displayed Book of Hours in the foreground.

This widely reproduced painting in the National Portrait Gallery is an early seventeenth-century copy of Hans Holbein the younger's 1532–1533 original, now in the Frick Collection in New York.

Interestingly, in the two portraits where he is titled Earl of Essex, he is depicted wearing a ring – a symbol of status and wealth.

In the first portrait, the ring is a simple band of gold, lacking any precious stones. However, in the second and most famous painting, the ring features a striking turquoise gemstone at its centre. This turquoise ring has become one of Cromwell's most recognisable and iconic accessories.

Understanding Cromwell's complex legacy involves grappling with a crucial question: was he merely a loyal servant and puppet of the king, or was he a calculating and sinister mastermind?

The truth lies hidden in both historical records and Cromwell's portraits, which – aside from the two discussed here – consistently portray him as a man of service, a guardian of the law, and someone marked by a sense of piety and humility.

In this portrait, Cromwell is once again depicted wearing his signature dark robe adorned with a simple brown collar.

He holds a piece of paper, a visual cue emphasising his role as a man of state. This document may symbolise the authoritative letters he received from Henry VIII, ordering him to act on his behalf.

Each element of his attire – the hat, the robe, and the brown collar – serves as a symbolic reminder of Cromwell's identity and status.

Another striking aspect of Cromwell's portrayal is the notable similarity across all his portraits.

Thomas Cromwell (1485–1540), Earl of Essex

This uniformity may be attributed to the fact that many of these paintings were created posthumously, modelled after the few original commissions produced during his lifetime. This would ensure a consistent depiction of his character.

In each portrait, Cromwell is presented as humble and restrained, devoid of any extravagance. This simplicity starkly contrasts with the grandeur of Henry VIII's portraits, where the king is often depicted adorned with opulent jewellery, radiating glory.

Clearly, Henry VIII was the master, and Cromwell the servant.

Their dynamic is even more pronounced in this painting, a copy in London's Hunterian Museum of an original in the Hall of the Barber-Surgeons Company.

Cromwell is depicted alongside Henry, who appears prominently at the centre, clearly portrayed as the figure of authority. Cromwell, as always, is instantly recognisable by his hat, robe and brown collar – features consistently represented across his portraits.

In my opinion, this painting – whether intentionally or not – perfectly encapsulates the complex relationship between the two men. It reflects the power imbalance that defined their interactions and contributed to Cromwell's complex legacy.

What remains undeniable is that Cromwell, whether seen as a mere puppet or a calculating mastermind, dedicated his efforts to advancing Henry VIII's political and personal ambitions, striving tirelessly to remain in the king's favour.

The adaptation of Wolf Hall sheds light on their complex relationship, highlighting how Cromwell's legacy is inextricably tied to the king's trust. Without Henry's favour, Cromwell would never have risen to such political prominence in the first place.

Ultimately, Henry held the power to 'make' or 'unmake' a person when he deemed it appropriate – and those who already know how Cromwell's story ends will be anticipating the king's change of heart. He had absolute control over those who served him, and their fates rested entirely in his hands.

Estelle Paranque, historian

This content was funded by The Weiss Gallery