There is one field through which I passed, just as the spire of Bromham church came into view, in which a surface more than three hundred yards square was blazing with wild-flowers, white and gold and crimson and purple and blue, upon a plain of vivid green, so that to look upon it was almost to be dazzled, while the air that floated over it was scented as if with honeysuckle. You may see the delicate spire and the low gray tower of Moore's church some time before you come to it, and in some respects the prospect is not unlike that of Shakespeare's church at Stratford. A sweeter spot for a poet's sepulchre it would be hard to find. No spot could be more harmonious than this one is with the gentle, romantic spirit of Moore's poetry, and with the purity, refinement, and serenity of his life. Bromham village consists of a few red brick buildings, scattered along a few irregular little lanes, on a ridge overlooking a valley. Amid those humble homes stands the gray church, like a shepherd keeping his flock. A part of it is very old, and all of it, richly weather-stained and delicately browned with fading moss, is beautiful. Upon the tower and along the south side the fantastic gargoyles are much decayed. The building is a cross. The chancel window faces eastward, and the window at the end of the nave looks toward the west,--the latter being a memorial to Moore. At the southeast corner of the building is the lady chapel, belonging to the Bayntun family, in which are suspended various fragments of old armour, and in the centre of which, recumbent on a great dark tomb, is a grim-visaged knight, clad from top to toe in his mail, beautifully sculptured in marble that looks like yellow ivory. Vandal visitors have disgracefully marred this superb work, by cutting and scratching their names upon it. Other tombs are adjacent, with inscriptions that implicate the names of Sir Edward Bayntun, 1679, and Lady Anne Wilmot, elder daughter and co-heiress of John, Earl of Rochester, who successively was the wife of Henry Bayntun and Francis Greville, and who died in 1703. The window at the end of the nave is a simple but striking composition, in stained glass, richer and nobler than is commonly seen in a country church. It consists of twenty-one lights, of which five are lancet shafts, side by side, these being surmounted with smaller lancets, forming a cluster at the top of the arch. In the centre is the figure of Jesus and around Him are the Apostles. The colouring is soft, true, and beautiful. Across the base of the window appear the words, in the glass: "This window is placed in this church by the combined subscriptions of two hundred persons who honour the memory of the poet of all circles and the idol of his own, Thomas Moore." It was beneath this window, in a little pew in the corner of the church, that the present writer joined in the service, and meditated, throughout a long sermon, on the lovely life and character