Chronicles document court drama as well. In 1116 social strife between Cluniac monks and tanner, cobblers and minstrels leads to their expulsion from Sahagn. In 1126-1157 the Chronica Aldefonsi Imperatoris describes the wedding of Alfonso's daughter with minstrels and juglarescas singing and playing instruments. In 1202, the Fuero de Madrid sets payment for entertainers who enter the city on horseback to prohibit overpayment in order to attract more entertainers. Campesinos vasallos del Obispo Suero de Zamora (1254-1286) refers to performance of the Representacin de Nuestro Seor. In 1258 the Cortes de Valladolid mandates that joglares and soldaderas should be rewarded by the king once a year and that "non anden en su casa sino aqullos que l tovier por bien" (they should not go into the court except those that were invited). The Chronicle of R. Muntaner describes several court celebrations. In 1238, Jaime I was honored in Zaragosa with "baylls e jochs e solaces diuerses" (dances, minstrels, and diverse activities). In 1269, Alfonso el Sabio was welcomed in Valencia with tournaments, wild men, and mock battles with oranges and galley ships on wheels in the streets. In 1286 the coronation of Alfonso III was celebrated with mock battles between two ships on wheels. In 1327, the coronation of Alfonso IV was celebrated in the Aljafera with hundreds of minstrels, knights, wildmen and other entertainers. In 1399 the coronation of Martn I was celebrated with a procession that included floats with a castle and singers pretending to be sirens and angels. The court was decorated with a Canopy of Heaven and the courtyard had a dragon that the knights fought in mock battles. The Chronicle of Alvar Garca de Santa Mara describes the 1414 coronation of Fernando de Antequera with pageant wagons with allegorical floats (a wheel of fortune that toppled pretenders to the throne and a wooden city under siege) and jousts. The Aljafera was decorated with a fire-breathing griffin and a Canopy of Heaven with a scene of heaven that included people impersonating angels and the prophets while playing instruments. Between banquet courses they staged political allegories, the allegory of the vices and virtues, and a Dance of Death. The Crnica de don lvaro de Luna (1423) describes don lvaro's tastes in entertainment "...orden alli en Otordesillas muchas fiestas e muy ricas justas e otros entremeses en los cuales el rey e toda su corte ovieron mucho placer e alegra....todos los caballeros, escuderos e pajes procuraron de salir muy nueva e apuestamente en todos los otros entremeses....don lvaro fue muy inventivo e mucho dado a fallar invenciones e sacar entremeses en fiestas o en justas o en guerra en las cuales invenciones muy agudamente significaba lo que quera...." (he ordered in Ortordesillas many parties and rich jousts and entremeses in which the king and all his court took much pleasure and happiness....all the knights, squires, and pages appeared in all the entremeses....don lvaro was very creative and given to innovation and putting on entremeses in parties or jousts or mock-battles in which his inventions sharply represented what he meant....) In 1428 we see King Fernando welcomed into Valladolid with a staging of the Passo de la Fuerte Ventura (a mock battle), an entrems with 8 women on horseback followed by a pageant wagon with a goddess and 12 singers, and a performance where the king and his men appeared as God and the disciples. In 1431 a mock deposition of the Maestro of Santiago is staged. In 1465 the Farsa de vila was staged, in which an effigy of Enrique IV was deposed. Finally, most valuable is Hechos del Condestable Don Miguel Lucas de Iranzo (throughout second half of 15thC). It records various court celebrations including performances of Representacin de los Reyes Magos and Estoria de Nascimiento de Nuestro Seor; mock battles with dragons, jousting, dance and songs, and allegorical performances.