The event triggered several satirical engravings by foreign artists that were widely published in English newspapers, including in particular a version of A Monument Dedicated to Posterity by Bernard Picart adapted by Bernard Baron,[1] which depicted Folly drawing Fortune in a cart while she showered a crowd of hopeful investors with bubbles of air and worthless shreds of paper rather than with the riches for which they hoped.

The centre of the print is occupied by a financial wheel of fortune or merry-go-round ridden by figures easily recognized in society, including a whore and a clergyman on the left,[3] then a housewife and a hunchback, and a Scottish nobleman to the right on a fat-faced horse.

Women line a balcony to the upper left, queuing to enter a building surmounted by stag's antlers, under a sign which offers "Raffleing for Husbands with Lottery Fortunes in Here".

In the bottom left corner, distinctive clothing identifies a Catholic, a Jew and a Puritan, who are ignoring the tumultuous scene to concentrate on their game of chance.

To their right, the naked figure of Honesty is broken on the wheel by Self-interest while an Anglican priest looks on; further right, Villainy – who has removed his fair mask which now hangs upside down between his legs – scourges Honour beneath the column.

Here all Religions flock together, Like Tame and Wild Fowl of a Feather, Leaving their strife Religious bustle, Kneel down to play at pitch and Hussle; (C) Thus when the Sheepherds are at play, Their flocks must surely go Astray; The woeful Cause yt in these Times (E) Honour, & (D) honesty, are Crimes, That publickly are punish'd by (G) Self Interest, and (F) Vilany; So much for monys magick power Guess at the Rest you find out more.

An early sketch, noted in Oppe's catalogue, omits St Paul's, the Guildhall, and various figures on the merry-go-round, shows Honesty as a woman, and has different wording for the inscriptions on the monument and raffle house.