The Triumph of Riches shows a car of Plutus drawn by four white horses, driven by Fortune and followed by a motley crowd which includes Justice, Usury, Bona Fides, Sichæus, the rich husband of Queen Dido, Pythias (of whom Plutarch tells that he so loved gold that once when he returned hungry from abroad his wife placed gold before him instead of meats), and many figures, for the most part culled from the pages of Herodotus, Juvenal, and other classic authors. In the heads of Croesus and Cleopatra it is said that Holbein painted likenesses of Henry VIII. and Anne Boleyn. In a corner of the picture is written the distich ascribed to Sir Thomas More which we have already met with above the central portal of the German Guildhall. The Triumph of Poverty was purely allegorical, and appears to have been considered less attractive than the former work, whether on account of its treatment, or on account of its less pleasing theme does not appear. In this case the car is drawn by two oxen and two asses, designated as Negligence and Idleness, Greed and Sloth. This canvas, too, bore some Latin verses from More's pen, which, curiously enough, have not been incorporated in his collected works. In all public ceremonies and processions the Hanseatics seem also to have taken a notable part; as we mentioned above on the occasion of Henry the Sixth's entry. We come across another detailed account when Queen Mary went in triumph through London the day before her coronation. At Fenchurch the Genoese had dressed up a lovely boy as a girl, who was carried before the Queen and greeted her. The Hanseatics had built up a hillock in the corner of Gracechurch, whence a fountain poured forth wine. On this hillock stood four children who likewise greeted the Queen. In front of the Steelyard they had placed two casks of wine, from which they poured drink to all who passed. This liberality cost them a thousand pounds, and heavy payments to cover such expenses are not infrequent in their account books.