During 1532 and 1533, and occasionally later, he painted a number of his compatriots seated in their offices and engaged in the ordinary routine of business life, including the superb picture of _Georg Gisze_ (Berlin, _see illustration, and p. 51_), _Hans of Antwerp_, the goldsmith, later on one of Holbein’s executors (Windsor), _Derich Born_ (Windsor and Munich), _Derich Berck_ (Petworth), _Geryck Tybis_ (Vienna), _Ambrose Fallen_ (Brunswick), and several others whose names have not been discovered. He was also employed by the members of the Steelyard as a corporate body. At the coronation of Anne Boleyn, in May, 1533, the streets of London were gaily decorated by the various city companies and guilds, and the triumphal arch erected by the Hanseatic League was designed by Holbein. Still more important were the two large allegorical paintings in monochrome, _The Triumph of Riches_ and _The Triumph of Poverty_, with which he decorated their banqueting-hall. These fine works have disappeared. Fortunately, they were copied by Zucchero in 1574, and by Jan de Bisschop (British Museum), while the original sketch for _The Triumph of Riches_ is in the Louvre. Holbein had now reached the highest point of his career, and the series of brilliant portraits he produced during the last ten years of his life is unrivalled. It was probably owing to his connection with the Steelyard that he was employed by several foreign Ambassadors, who were accredited to England during his second residence here. Many of these German merchants were more than mere traders. Owing to their knowledge of foreign languages, and their business relations with all parts of the world, they were often employed by the Government, and occasionally sent on important missions abroad. In this way they were personally known to many of the Ambassadors to England.