The fêtes of St. Denis had not satiated Charles VI; he remembered that the queen his wife had not yet been crowned: this was a fine occasion to indulge in fresh magnificences. He resolved to have Isabella anointed at Paris, and to compensate himself for the paucity of ceremonial which had been accorded to the queen’s first entry into the capital. He notified his intention “to those of Paris,” in order that they might be prepared, and charged the old queen, Blanche of Navarre, widow of Philip of Valois, to arrange the ceremony. Accordingly Blanche ordered the _Chronicles of St. Denis_ to be examined for everything which they reported concerning the anointing of queens in olden times. Froissart[c] and the monk of St. Denis[d] have vied with one another in describing the queen’s procession which arrived before St. Denis the 22nd of August, 1389, with all the princesses, some in painted and gilded litters, others on palfreys marvellously caparisoned. The king’s uncles, who sought every opportunity to approach the supreme power, had presented themselves at court with their families; the dukes and all the great nobles escorted the litters which entered Paris to the sound of a thousand instruments and between two rows of horsemen clad, some in scarlet silk, others in green silk: they were on the one side the members of the king’s household, on the other twelve hundred citizens of Paris led by the provost of the merchants. Across the whole of the rue St. Denis and the Grand Font (the Pont au Change) were hung draperies of silk, camlet, and cendal (taffetas), which “shut out the sky”; all the houses were hung with silks and tapestries of a high warp and the windows were crowded with women adorned with dresses of brilliant materials and with gold necklaces. Fountains of milk and perfumed wine flowed at the street corners, and beautiful young girls offered the passers-by to drink from golden goblets. At the Porte St. Denis, at the _moûtier_ (monastery) of the Trinity, at the second Porte St. Denis or Painters’ Gate (Porte aux Peintres), at the church of St. Jacques de l’Hôpital, at the Grand Châtelet, platforms, wooden castles, and richly ornamented theatres had been erected; one represented God in his paradise and the starry heavens filled with angels who sang “very melodiously” and congratulated in rhyme “the lady enclosed amongst _fleurs-de-lis_”; another “showed” the king of France and his twelve peers, King Richard Cœur de Lion, and King Saladin with his Saracens. A rope had been stretched from one of the towers of Notre Dame to the Pont au Change: as the queen passed the bridge a man dressed as an angel, seated on this rope, descended from the towers of Notre Dame, passed through an opening in the awning which covered the bridge, placed “a beautiful wreath” on the queen’s head, and “was drawn up again through the said opening as if he were returning to heaven.”