The two boys were very carefully brought up in the Protestant faith by their mother. Martin Bucer, the German reformer, was appointed their tutor, and they were afterwards in the charge of Thomas Wilson, who became Secretary of State to Queen Elizabeth. At a later period Henry was sent to Sir John Cheke, and was educated with Prince Edward, and finally entered St. John’s College, Cambridge, where his brother afterwards followed him. While there the two boys contracted that scourge of the sixteenth century, the sweating sickness. On the occasion of the outbreak they were hastily removed for safety to the Bishop of Lincoln’s palace at Brickdon, in Huntingdonshire, but too late, for both developed the disease, and died together in one bed, on the same day, July 11, 1551, the younger within less than an hour of the elder. Their death at so early an age made an extraordinary impression at the time, and a pamphlet on the subject was published by their tutor, Dr. Walter Haddon. Peter Martyr said of Henry that, with the exception of Edward VI, he was the most promising youth of his day. [Illustration: VOL. II., PLATE 32 STUDY FOR A FAMILY PORTRAIT GROUP _Indian-ink wash drawing with brush outline_ BRITISH MUSEUM ] [Sidenote: DRAWING OF A FAMILY GROUP] There is a very beautiful drawing of the boys’ mother in the Windsor Collection,[497] a head turned three-quarters to the left, wearing the English angular head-dress with a band of pearls, and a second ornamented band of which part of the pattern has been drawn in detail by Holbein. The collar is elaborately braided with black velvet, and a medallion is indicated at the breast. The brown eyes and the hair have been put in with water-colour. The portrait for which it was the original study has not been traced. There is a replica of this head in the British Museum (No. 10),[498] which was formerly in the Robinson and Malcolm collections. In this connection, too, a second drawing in the British Museum may be cited, which represents a woman and children sitting on a bench (No. 8) (Pl. 32).[499] It is in Indian-ink on paper, 5¼ in. × 4¼ in., and comes from the Cosway and Utterson collections. It has been reproduced by the Vasari Society,[500] with a note by Mr. Campbell Dodgson, and by Dr. Paul Ganz.[501] Mr. Dodgson suggests that the scene represented is the interior of a church. An effect of warm sunshine is skilfully suggested by the light which falls from a window, not seen, on the right. The mother or nurse is seated in the centre of the group, on a high-backed bench with panelling of the Tudor “linen” pattern, a baby in long clothes held on her lap. On her right a boy with a flat cap and feather, and puffed sleeves, is seated, his left elbow resting on the arm of the bench. A little girl stands in front of her, looking up, and on the left a younger boy, dressed like his brother, is standing, the whole making a group of the greatest charm. It is