The boy King Edward VI. was only ten years of age when he succeeded to the throne. On the 30th of May 1547, he was brought in state to the Tower amidst an outburst of the people’s gladness, which, considering all the troubles they had for so long endured under the savage rule of the late monarch, must have been heartfelt and genuine. Near the town of Midhurst in Sussex are the ruins of one of the finest of the old Tudor mansions, Cowdray House, the old home of the Montagus. In the reign of Edward VI. Cowdray belonged to Sir Antony Brown, who held the proud office of Grand Standard Bearer of England. Here it was that the boy King in the year of his accession was entertained by Sir Antony, and in his precocious diary the little monarch wrote that he was “marvellously, yea, rather excessively banketted.” Cowdray House—and that is my reason for writing about it here—contained a most interesting series of paintings upon its walls illustrating the events in the reign of Henry VIII. and that of his son, who was so “excessively banketted” within its halls. Among these paintings were representations of the siege of Boulogne by Henry VIII.; the Field of the Cloth of Gold; and a huge painting of the coronation of Edward VI., in which the long procession is seen wending its gorgeous length from the Tower to Westminster Abbey. All these paintings perished in the disastrous fire which destroyed Cowdray on the 24th of September 1793. Fortunately, George Vertue copied these paintings and engraved the copies in the middle of the eighteenth century, the engravings being published by the Society of Antiquaries. Next to the Bayeux tapestry, nothing more interesting than these pictured records of English history have come down to us.