Both compositions were of the same height, but the “Triumph of Riches” was much the longer of the two, so that they must have been painted to fill particular and prescribed wall-spaces in the Hall. Probably the “Riches” occupied the place of honour on one of the long walls, opposite the windows, with the “Poverty” at one of the ends of the room. The latter, according to Dr. Ganz, came first, as the heads of a number of the figures in the foreground are turned backwards as though looking across the room at the other procession following them. In the “Triumph of Poverty,” in which the procession moves in the same direction, from right to left, the central figure is Poverty, an old woman, lean, and bare to the waist, seated in a rough waggon with upright poles bearing a canopy of straw. Over her head is a label with the Greek title “Πενια.” Behind her sits _Infortunium_, striking with a rod at the heads of the crowd of poverty-stricken, half-naked figures following the cart, among whom are an old man, _Mendicitas_, and an old woman, _Miseria_. In front of Poverty sits _Industria_, distributing instruments of labour, hammers, chisels, flails, squares, and other tools to the poor workmen walking below, and she is supported by _Usus_ and _Memoria_. The cart is driven by _Spes_, who looks up towards heaven, and is drawn by two oxen, _Negligentia_ and _Pigritia_, in the shafts, and two asses, _Stupiditas_ and _Ignavia_, as leaders. These steeds are led by four finely designed female figures, _Moderatio_, with a whip, _Diligentia_, _Solicitudo_, and _Labor_, the last carrying a heavy spade. Behind _Labor_ walks a young man with a basket of carpenter’s tools, and a flail over his shoulder. On a tree in the left background hangs a large wooden tablet with a long Latin inscription, also attributed to Sir Thomas More, beginning: “Mortalivm jvcvnditas volvcris et pendvla Movetvr instar tvrbinis quam nix agit sedvla,” &c.[65] Footnote 65: The lines are quoted in full by Wornum, p. 265, and Woltmann, i. p. 385.