Ridolfi plot: Difference between revisions

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[[Thomas Howard, 4th Duke of Norfolk]], a Roman Catholic with a Protestant education, a second cousin of Queen Elizabeth's and the wealthiest landowner in the country, had been proposed as a possible husband for Mary since her imprisonment in 1568. This suited Norfolk, who had ambitions and felt Elizabeth persistently undervalued him.{{sfn|Williams|1972|p=91|ps=}} In pursuit of his goals, he agreed to support the [[Northern Rebellion]], though he quickly lost his nerve. Norfolk was imprisoned in the [[Tower of London]] for nine months and only freed under house arrest when he confessed all and begged for mercy.{{sfn|Williams|1972|pp=101–02|ps=}} [[Pope Pius V]], in his 1570 [[papal bull]] ''[[Regnans in Excelsis]]'', excommunicated the Protestant Elizabeth and permitted all faithful Catholics to do all they could to depose her. The majority of English Catholics ignored the bull,{{sfn|Dures|1983|p=17|ps=}} but in response to it, Elizabeth became much harsher to Catholics and their sympathisers.{{sfn|Starkey|2001|p=322|ps=}}
 
John Milsom has proposed that [[Thomas Tallis|Tallis]]' [[Spem in alium]], was commissioned to have covert political and allegorical meaning by the Earl of Arundel or the Duke of Norfolk, as the text originates from the [[Book of Judith]] that concerns the slaying of [[Holofernes]] in order to save Israel. This would have made in anit an allegory for an eventual assassination of Elizabeth.<ref>{{Cite journal |last=Milsom |first=John |date=2012 |title=Tallis's 'Spem in alium' and the Elizabethan Polity |journal=Early Music History |volume=31 |pages=211-246}}</ref> Despite the allegorical association, and ''Spem in alium'' appearing in the [[Nonsuch Palace|Nonsuch palace]] catalogue for its presumed performance with Arundel or Norfolk in attendance, there is no evidence that Tallis was involved in the plot himself.<ref>{{Cite journal |last=Smith |first=Jeremy L. |date=2003 |title=Music and Late Elizabethan Politics: The Identities of Oriana and Diana |url=https://www.jstor.org/stable/10.1525/jams.2005.58.3.507 |journal=American Musicological Society}}</ref>
 
==Plot==