Things having been set right again, the procession entered Cheapside, and there was seen an "admirable tower"; a young man and a young maiden came out of it, addressed Richard and Anne, and offered them crowns; at the Gate of St. Paul's a concert of music was heard; at Temple Bar, "barram Templi," a forest had been arranged on the gate, with animals of all sorts, serpents, lions, a bear, a unicorn, an elephant, a beaver, a monkey, a tiger, a bear, "all of which were there, running about, biting each other, fighting, jumping." Forests and beasts were supposed to represent the desert where St. John the Baptist had lived. An angel was let down from the roof, and offered the king and queen a little diptych in gold, with stones and enamel representing the Crucifixion; he made also a speech. At length the queen, who had an active part to play in this opera, came forward, and, owing to her intercession, the king, with due ceremony, consented to bestow his pardon on the citizens. Many other examples might be adduced; feasts were numerous, and for a time caused pains to be forgotten: "oubliance etait au voir," as Froissart says so well on an occasion of this sort.[769] There were also for the people the May celebrations with their dances and songs, the impersonation of Robin Hood, later the performance of short plays of which he was the hero[770]; and again those chimes, falling from the steeples, filling the air with their joyous peals. At Court there were the "masks" or "ballets" in which the great took part, wrapped in starry draperies, disguised with gold beards, dressed in skins or feathers, as were at Paris King Charles VI. and his friends on the 29th of January, 1392, in the famous Ballet of Wild Men, since called, from the catastrophe which happened, "Ballet des Ardents" (of men in fire). The taste for ballets and Masks was one of long duration; the Tudors and Stuarts were as fond of them as the Plantagenets, so much so that a branch apart in dramatic literature was created on this account, and it includes in England such graceful and touching masterpieces as the "Sad Shepherd" of Ben Jonson and the "Comus" of Milton. II. While histrions and amusers give a foretaste of farce and comedy in castle halls, while romantic drama is foreshadowed in the "pas de Saladin" and the "Taking of Troy," and the pastoral drama begins with May games, other sources of the modern dramatic art were springing up in the shadow of the cloister and under the naves of churches.