ABSTRACT
This chapter discusses not only spoke to the exiled royalists' hopes for Charles II's restoration but also intervened at a telling moment in Henry Killigrew's own Interregnum fortunes. The play is therefore the product of an interesting moment of female cultural patronage, particularly when one considers it in the light of both the late Duke of Buckingham's and Henrietta Maria's theatrical tastes and endeavours. Prior to his death in 1628, however, the Duke of Buckingham had constructed a state-of-the-art indoor theatre in his London residence of York House, and it is here, It believes, that Jones was employed by the duchess to create a set of elaborate scenes for Killigrew's The Conspiracy. Although the scene in which this play is discussed contributes little to the development of The Conspiracy's plot, it was carried across nearly wholesale into Pallantus and Eudora and therefore bears considering, not least for what it can tell us about Killigrew's representations of female dramatic patronage.
