Casting about for some clue to the whereabouts of St. Davids Cathedral, we soon espy a low, dark object that proves upon closer inspection to be the topmost story of the central tower. With this as guide, we traverse an old paved lane ycleped the Popples, _Anglicè_ Pebbles, and passing beneath the tower gate--sole survivor of the four gate towers of the ancient city--enter the cathedral precincts. This point affords perhaps the most characteristic _coup d'oeil_ of the venerable edifice, set amidst that stern and sombre landscape with which its time-worn architecture so completely harmonizes. [Illustration: ST. DAVIDS CATHEDRAL.] Viewed from our present vantage-point St. Davids Cathedral appears ensconced within the hollow of the vale, its topmost pinnacles scarce rising clear of the distant horizon. Grouped around the central mass of the cathedral stand the crumbling ruins of mediæval structures of scarcely inferior interest. Away to our left, beyond a grove of wind-swept trees, rise the arcaded walls of Gower's incomparable palace, while the slender tower of St. Mary's College peeps over the long cathedral roof. [Illustration: THE GATE TOWER. ST. DAVIDS.] The stone wall that encompasses the cathedral close upon its eastern side terminates in the massive octagonal tower, with Gothic doorway and windows, seen in the adjoining sketch. This is flanked again by the old gateway through which we have just entered. We now descend the broad flight of steps that, from their number, have been dubbed the 'Thirty-nine Articles.' Passing through the great south porch our eyes are greeted by a beautiful Decorated doorway, the work of Bishop Gower, which is adorned with exquisitely-carved figures and foliage encrusting arch and pillar. Here enclosed amidst intersecting branches we discern quaintly sculptured representations of the Root of Jesse, the Crucifixion, St. David with his harp, and various other saintly personages; yonder the artist tells the history of Adam and the birth of Eve; while overhead presides the Holy Trinity, flanked by angels with swinging censers--a veritable gem of mediæval sculpture. Proceeding onward we now enter the nave, whose rich yet massive architecture forms a unique and enduring memorial of the first Norman bishop, Peter de Leia. The general effect is of breadth rather than height, the solid cylindrical pillars supporting semicircular arches of unusual width, wrought with the varied and elaborate ornamentation of the Transitional Norman period. Above this rises a series of lofty arches enclosing both clerestory and triforium--a rather unusual arrangement--while a singular appearance is produced by the upward slope of the floor, and the outward lean of walls and nave pillars, the latter being the result of an earthquake that occurred in the thirteenth century.