Richard Martin, a lawyer, gave a speech on behalf of the Mayor and Aldermen, praising James as the "Bright star of the North".

Queen Anne travelled a similar route through England with her children Henry and with Elizabeth, who was left with her new guardians at Coombe Abbey.

[15] The subdued nature of this coronation was noted, and three years later a ceremony at Windsor Castle to invest the Earl of Salisbury and Viscount Bindon as Knights of the Garter was said to have been much more magnificent.

He thought men or Barons from the Cinque Ports would carry the king's canopy in the Abbey, and they heard that Anne of Denmark's coronation would be deferred till the winter.

Kelk looked into precedents for the robes required, and Raworth noted that scarlet cloth was £3-10s and red satin 15 shillings or more per yard.

[25] The merchant and mercer Baptist Hicks was asked to supply crimson velvet, damask and satin, but was left with 1,400 yards of unused fabric.

[28] The goldsmiths William Herrick and John Spilman provided a cloth-of-estate for the Abbey embroidered with pearls and imitation counterfeit gemstones.

[30] Herrick and Spilman also made a hat badge of precious stones in the shape of an initial "I" for James, using a diamond taken from an old jewel in Anne's inventory.

His ancestor, Nicholas Leigh, had claimed the same right to "make a mess of pottage in a pot of clay" or "degeront" at the coronations of Edward VI in 1547 and Mary I in 1553.

[37] It was decided to make a new translation of the Liber Regalis, the 14th-century coronation order, ignoring Tudor additions and removing any elements that were contrary to Anglican doctrine.

[44] Despite a proclamation that spectators should stay away because of an outbreak of bubonic plague, the streets around the abbey and numerous boats on the river were crowded with onlookers.

[48][49] Scaramelli (who did not attend in person) described a procession of heralds, followed by the mayor, Robert Lee, and city dignitaries,[50] lawyers and judges, the Knights of the Bath, and aristocrats.

A Latin version of the verse was said to have been inscribed on the stone by the order of King Kenneth in 850,[60] and recent examinations found few traces of lettering.

1603. by the hands of John Whitgift, Archbishop of Canterbury; where the Antique Regal Chair of Inthronization did happily receive, with the Person of His Majesty, the full accomplishment of that Prophetical Prediction of this His coming to the Crown of England.

The processional anthem inside the abbey was Behold, our Lord and protector; after the Recognition, Let thy hand be strengthened; during the Anointing, Veni Creator; and after the crowning, Be strong and of good courage and The King shall rejoice both combined into one piece.

[68] A portrait by Paul van Somer (c. 1620) shows the king in his ermine lined robes over white satin doublet and breeches, with a view of the Whitehall Banqueting House behind him.

[69] The bills for Anne's and James' coronation costume were not paid for several years, and the debt was cited as one of the reasons for selling off crown lands in 1609.

[70] Anne's coronation costume was made of crimson and purple velvet lined with powdered ermines, and perfumed with musk, civet, and ambergris.

[71] An Order of Service mentions (in Latin) that her costume would be unadorned with embroidery (a detail noted by Giovanni degli Effetti), her hair loose about her shoulders, with the gem–set gold circlet on her head.

[77] Buwinckhausen wrote that the countesses wore scarlet dresses in "antique fashion" trimmed with ermine, their coronets in the left hand.

[79] Buwinckhausen's original German phrase may refer to the countess' wide sleeves having some similarity to Franconian fashion, or to their paired costumes resembling the red and white heraldry of Franconia; "mit Hermelin gefuttert, und weiten Ermelen gar altfrenckisch".

She had to write to Sir Robert Cecil asking for his intervention so that she could buy suitable clothes to "furnish her self" to attend Queen Anne.

John Chamberlain described them under construction in July 1603, and their flimsy nature, "Our pageants are prettily forward, but most of them are such small-timbered gentlemen that they cannot last long, and I doubt not if the plague cease not the sooner they will rot and sink where they stand".

The cushions and seats were upholstered with red velvet, dressed with silver, passementerie bought from the king's silkman Roger Montague, and William Cookesbury supplied decorative feathers for panaches.

[92] Several of the triumphal arches were designed by a carpenter Stephen Harrison, and illustrated in a festival book commemorating the Royal entry, engraved by William Kip.

[94] According to Dekker, "the streets seemed to be paved with men; stalls instead of rich wares were set out with children; open casements filled up with women".

[97] Anne of Denmark's apparent interest in the crowds, "bending her body this way and that", was appreciated as a token of accessibility and humility, while James expressed impatience with the unceasing curiosity of the people.

[99] Dekker's poem Troynovant invoked a legend of London as a new Troy or Trinovantum, founded by Brutus, with imagery of James' accession to four kingdoms as a marriage:[100] A few days later, Parliament was opened with another ceremony, and attendees wore different livery clothes to those at the Entry.