The gala-day opened with a tournament at which Adolph of Cleves again sported as Knight of the Swan to the applause of the onlookers. After the jousting, the guests adjourned to the banqueting hall, where fancy had indeed, run riot, to make ready for their admiring eyes and their sagacious palates. _Entremets_ is the term applied to the elaborate set pieces and side-shows provided to entertain the feasters between courses, and these were on an unprecedented scale. Three tables stood prepared respectively for the duke and his suite, for the Count of Charolais, his cousins, and their comrades, and for the knights and ladies. The first table was decorated with marvellous constructions, among which was a cruciform church whose mimic clock tower was capacious enough to hold a whole chorus of singers. The enormous pie in which twenty-eight musicians were discovered when the crust was cut may have been the original of that pasty whose opening revealed four-and-twenty blackbirds in a similar plight. Wild animals wandered gravely at a machinist's will through deep forests, but in the midst of the counterfeit brutes there was at least one live lion, for Gilles le Cat[5] received twenty shillings from the duke for the chain and locks he made to hold the savage beast fast "on the day of the said banquet." Again there was an anchored ship, manned with a full crew and rigged completely. "I hardly think," observes La Marche, "that the greatest ship in the world has a greater number of ropes and sails." Before the guests seated themselves they wandered around the hall and inspected the decorations one by one. Nor was their admiration exhausted when they turned to the discussion of the toothsome dainties provided for their delectation. During the progress of the banquet, the story of Jason was enacted. Time there certainly was for the play. La Marche estimated forty-eight dishes to every course, though he qualifies his statement by the admission that his memory might be inexact. These dishes were wheeled over the tables in little chariots before each person in turn. "Such were the mundane marvels that graced the fête," is the conclusion of La Marche's[6] exhaustive enumeration of the masterpieces from artists' workshops and ducal kitchen. "I will leave them now to record a pity moving _entremets_ which seemed to be more special than the others. Through the portal whence the previous actors had made their entrance, came a giant larger without artifice than any I had ever seen, clad in a long green silk robe, a turban on his head like a Saracen in Granada. His left hand held a great, old-fashioned two-bladed axe, his right hand led an elephant covered with silk. On its back was a castle wherein sat a lady looking like a nun, wearing a mantle of black cloth and a white head-dress like a recluse.[7]