The Cardinal’s ring on the Cromwell Cloke
In a recent post, I wrote an introduction to my Cromwell Cloke, with a view to sharing the “becoming” of a piece of my textile art. With that in mind, this series discusses some of the objects depicted on the Cloke, and the creative decisions behind each piece. It also gives me an opportunity to record sources and references both in and outside the text of Hilary Mantel’s Cromwell Trilogy.
If you are participating in Wolf Crawl with please note that The Thread of Her Tale discusses work inspired by the whole Trilogy and therefore may contain spoilers.
When I look at this picture of the Cromwell Cloke, taken last week, I sigh slightly. It doesn’t even show the whole length of the thing. There are some Cornish Coughs, some snakes, and a Cardinal’s hat hanging over the top of the tailor’s dress form; and another fish of prophecy. And another Head of Anne. I really need to hang the Cloke properly on Tommaso the dress form so that I can check the whole thing - but then it trails too far on the floor. I just need to see how the overall piece is developing and acknowledge the ever-growing realisation that it is far bigger than anticipated. And I am bothered by the placement of that artichoke. But enough of that. I want to write about the turquoise ring at the top of the image.
In Hilary Mantel’s Cromwell Trilogy, Thomas Cromwell is given a turquoise ring by Cardinal Wolsey, and it is suggested that this ring might have magical properties.
Those who envy the cardinal say he has a ring which enables its owner to fly, and allows him to encompass the death of his enemies. It detects poisons, renders ferocious beasts harmless, ensures the favour of princes, and protects against drowning.
Hilary Mantel, Wolf Hall: An Occult History of Britain.
It - also - appparently makes princesses fall in love with you. We know that the real Thomas Cromwell owned such a ring - he is wearing it in the Holbein portrait (with a slightly clumsy looking hand).
In Wolf Hall, Wolsey gives Cromwell the ring as he, Wolsey, leaves for the road north in 1530. He, Cromwell keeps it in a secret drawer until the Cardinal’s death; and then he wears it. “The ring fits as if it had been made for him.” His wearing of the ring is a signal to the Cardinal’s enemies: I am still Wolsey’s man. It’s an important device: an object that ties the two Thomases together, a mark of trust and loyalty.
When I was making the first Wolf Hall Quilt back in 2020-21, I included references to the turquoise ring each time it was mentioned in the text - that and a couple of other rings are mentioned more than once, and I incorporated codes for each of them in each of the corresponding chapter panels. I liked having those little hints running through the textile - knowing that a lot of them could not be deciphered without a key.
By her explicit use of the Turquoise Ring throughout her Trilogy, Hilary Mantel is referencing an item that once existed. As well as Cromwell’s portrait, it appears in an inventory of his goods taken in 1527. I spent another happy afternoon among his papers yesterday, and especially enjoyed going through this inventory of household goods, plate, and jewellery. The turquoise ring is included on the first page of “Rynges and other Jewells” - it is the fifth from the top, a “great rynge of golde with a great stone called a turquoise”. Cromwell also owned another turquoise ring - shaped like a heart - which he was wearing when this inventory was taken.
But wait! If the Cardinal gave Cromwell the ring in 1530, how is it in his inventory in 1527?
Because the Trilogy is a work of fiction, of bold imagination. It’s not the historical record, and should not be read as such. A novelist’s imagination can take items from the pages of inventories, and turn them into physical objects on new pages of fiction. I don’t look at these documents to find discrepancies, but rather to see how the gaps between the historical record and fiction can be reworked. The same inventory lists a cushion with an antelope design - one which comes up in The Mirror and the Light - and it felt like meeting an old friend, this physical object living again through the power of Hilary’s pen.
And I have my own version. I have been promising myself a turquoise ring for over a decade now, since I first read Wolf Hall. But I could never find one that was quite right. And then I discovered Nicky Wade-Evans’ incredible reproduction jewellery, and commissioned a replica.
I have been wearing Thomas Cromwell’s Turquoise for a few months now. I love it. It is satisfyingly heavy and Cromwellian. I imagine it will enable me to fly one day. But it’s not the Cardinal’s ring. It’s not Cromwell’s ring. It’s my ring. And its exquisite remaking reminds me of the gaps between the historical record and fiction - and why I am driven to explore them in Hilary’s company.
Really enjoyed reading this, Bea--the bit about incorporating codes for each ring is so wonderful. I am absolutely enthralled, following along as you share these stories...and so happy for you, that you finally have your turquoise ring!
Great tale Bea. Love it that you have your own ring. Good luck with the flying