A friendly clergyman conducted us to the church, an elegant building of the reign of King Henry the Seventh, and called one of the seven wonders of Wales. The tower is a hundred and forty feet high, and esteemed “a beautiful specimen of the florid, or reformed Gothic, which prevailed about that time.” All the figures and ornaments are well designed, and still in high preservation. The inside is not less elegant; it has lately been neatly repaired, with a good gallery and organ: the painted altar-piece is well executed. On the left, facing the altar, is a very handsome monument by Roubilliac, to the memory of Mrs. Mary Middleton; both the design and execution reflect the highest credit on the sculptor. The subject is the Last Day: at the sound of the trumpet a tomb of black marble bursts open, and a beautiful female figure, clothed in white, appears rising from it, just awoke from the sleep of death; her form dignified; candour, innocence, and celestial joy shine in her countenance, and give it the most feeling and animated expression. In the back-ground an obelisk, supposed to be erected to her memory, is rent asunder: above an angel, enveloped in a cloud, is pointing to brighter scenes. In this church are two other monuments, executed by the same celebrated master, in memory of some of the Middletons. Their designs, though striking, cannot be compared to his Last Day. The altar-piece was brought from Rome by Elihu Yale, Esq. whose tomb bears the following inscription:— Born in America, in Europe bred, In Afric travell’d, and in Asia wed: Where long he lived and thrived—in London died. Much good, some ill he did, so hope all’s even, And that his soul, through mercy, ’s gone to heav’n! You that survive and read this tale, take care For this most certain exit to prepare. When blest in peace, the actions of the just, Smell sweet, and blossom in the silent dust. Our worthy conductor, perceiving we were great amateurs of painting, and careful that nothing of consequence should be passed unnoticed by us, particularly wished us to examine the performance of a young artist then at Wrexham. A copy, amongst others, of a painting of Rembrandt’s, taken by Mr. Allen from a celebrated picture, in the possession of Lord Craven, was most ingeniously executed. The subject is an old man instructing a young boy; the attention of the latter most admirably preserved; the head of the former, and the hand particularly, most highly finished. Without any exaggeration, this painting would do credit to the most scientific painter, and be esteemed invaluable; it is therefore to be hoped, from the hands of so young an artist as Mr. Allen, that this performance will be disposed of where judges of painting may view it with a critic’s eye, and recommend its merits to those who can afford to encourage industry and ingenuity.