Pinheiro da Veiga says that at Valladolid in 1605, a banquet was celebrated in "a large gallery, completely covered with the richest silk brocade, as were most of the other apartments." He also says that cloths of similar richness were employed as street-awnings. "Upon the ninth was the Corpus procession, at which the king was to assist; and a proclamation was issued that none should promenade on horseback or in coaches. I found nothing remarkable in this procession, unless it were the hangings and the awnings to keep off the sun, which were of the richest damask and brocade." Of the same _fiesta_ Countess d'Aulnoy wrote in 1679: "The streets through which the procession has to pass are adorned with the finest tapestries in all the world, since in addition to those belonging to the Crown, many of the greatest beauty are displayed by private persons. The _celosías_ of all the balconies are replaced by elaborate canopies and hangings, and the whole roadway is covered with an awning to ward off the sun, and which, for the sake of greater freshness, is moistened with a little water." Nearly identical with this account is that of Alexander de Laborde, who wrote, a century and a quarter later than the Countess; "On Corpus Christi day there is a grand procession composed of the regular and secular clergy of Madrid, followed by the king, his ministers, and court, each bearing in his hand a wax taper. Magnificent awnings of tapestry are raised in the streets through which the procession is to pass; the balconies are decorated with splendid hangings; the seats are covered with cushions, and occasionally surmounted with a daïs; in some of the streets the face of day is darkened by canopies which stretch from one side to the other. Altars are placed at regular intervals; the balconies are thronged with ladies superbly dressed, who sprinkle scented water, or scatter fragrant flowers on the passing multitudes." Pinheiro da Veiga also describes a set of remarkable tapestries, evidently Flemish, which he saw in the Chapter-room of the Convent of Cármen Calzado at Valladolid. "It was hung with the richest tapestry, silk, and paintings that had belonged to the Duke of Lerma. I greatly admired some cloths of green velvet, worked all over with the _Bucolics_ of Virgil, in _tarjas_ embroidered in silk and gold, as though they were _sebastos_[43] of ecclesiastical vestments, but these were old, of great value, and extraordinary merit. Finer still were certain cloths of recent workmanship, such as I had never seen equalled, of a white material painted in tempera, with the borders, dresses, and faces of the personages on them wrought in twisted gold. I never saw anything so brilliant or so novel. The cloths were eight in number, with four embroidered _guardapuertas_. The persons figured upon them wore belts of real pearls, rings set with diamonds and rubies on their fingers, and gold chains and medals studded with precious stones, just as living people wear them."