"And for to remember of other alyens, Fyrst Jenenyes (Genoese) though they were strangers, Florentynes and Venycyens, And Easterlings, glad in her maneres, Conveyed with sergeantes and other officeres, Estatly horsed, after the maier riding, Passed the subburbis to mete withe the kyng."[10] A love of pomp and outward show was indeed a characteristic of the Hanseatics in England who thus perchance wished to impress upon the natives a sense of their wealth. As times grew less turbulent and the German Guildhall less of a fortress, it was handsomely decorated with costly paintings and fine carving. Most notable were two large works by Holbein, who visited England at the invitation of King Henry VIII., desirous of emulating his rival Francis I. in protecting the fine arts. When the painter first came over he lived in one of the quaint houses that, before the Great Fire, stood on London Bridge, and some of his earliest works seem to have been two commissions for his countrymen, whose Steelyard was close by. They were destined to decorate the Great Hall, and were tempera pictures representing respectively the Triumph of Poverty and of Riches. When in the days of James I. the Steelyard ceased to exist as the collective home of the Hanseatics, the towns decided to present these pictures to the Prince of Wales, Henry, who was a lover of the arts like his younger brother, Charles I., into whose collection they passed on Henry's death. Unfortunately, they perished in the great fire that destroyed Whitehall. Federigo Zuccari, who saw them during his sojourn in London and appraised them as exceeding in beauty the works of Raphael, made careful drawings of them, and thanks to these and the engravings made after them we are in possession of at least an outline representation of Holbein's work. The pictures are conceived in the spirit of the age that loved such so-called triumphs in art and poetry. The figures, chiefly allegorical, were life size and in the richness of fantasy and learning that they display it is permissible to recognize the help and advice of Holbein's friend, the Chancellor, Sir Thomas More. In many cases the names of the personages represented are written beside the figures, after the quaint method of that time. [Illustration: THE TRIUMPH OF RICHES, BY HOLBEIN.]