Jelaskan Façade of the Obradoiro dari Katedral Santiago de Compostela dalam bahasa melayu

The Obradoiro square in front of the façade alludes to the workshop (obradoiro, in Galician) of stonemasons who worked on the square during the construction of the cathedral. In order to protect the Pórtico da Gloria from deterioration caused by weather, this façade and towers have had several reforms since the 16th century. In the 18th century it was decided to build the current Baroque façade, designed by Fernando de Casas Novoa. It has large glazed windows that illuminate the ancient Romanesque façade and is located between the towers of the Bells and of the Ratchet. In the middle of the central body is St. James and one level below his two disciples Athanasius and Theodore, all dressed as pilgrims. In between, the urn (representing the found tomb) and the star (representing the lights he saw the Hermit Pelagius) between angels and clouds. The tower on the right depicts Mary Salome, mother of St. James, and the tower on the left depicts his father Zebedee. The balustrade on the left side depicts St. Susanna and St. John and the one on the right depicts St. Barbara and James the Less.

A stair allows reaching the entrance of the façade. The stair was made in the 17th century by Ginés Martínez and it is of Renaissance style inspired by Giacomo Vignola of Palazzo Farnese. It is diamond-shaped with two ramps that surround the entrance to the old 12th century Romanesque crypt of the Master Mateo, popularly called the "Old Cathedral".

Between the existing plane of the façade of the Obradoiro and the old Romanesque portal (Pórtico da Gloria) there is a covered narthex.

This façade has become a symbol of the cathedral and the city of Santiago de Compostela. As such, it is the engraving on the back of the Spanish euro coins of 1, 2 and 5 cents.

South façade or das Pratarías

The façade of the Silverware (Pratarías in Galician) is the southern façade of the transept of the cathedral of Santiago de Compostela and is the only Romanesque façade that is preserved in the cathedral. It was built between 1103 and 1117 and elements from other parts of the cathedral have been added in subsequent years. The square is bound by the cathedral and cloister on two sides. Next to the cathedral is the Casa do Cabido.

It has two entrance doors in degradation with archivolts and historian tympanums. The archivolts are attached over eleven columns, three are of white marble (middle and corners) and the rest of granite. In the center are the figures of twelve prophets and the Apostles on the sideline. On the tympanums is a large frieze is separated from the upper body by a strip supported by grotesque corbels, on this floor are two windows that are decorated with Romanesque archivolts.

In the central frieze is Christ, with various characters and scenes. On the right six figures belong to the choir of Master Mateo that were placed in the late 19th century. The original provision of the iconographic elements was invalidated since that 18th century  numerous images were introduced recovered from the dismantled Acibecharía facade. A central medallion shows the Eternal Father (or Transfiguration) with open hands and on the top surface there are four angels with trumpets heralding the Final Judgment.

In the tympanum of the left door is Christ tempted by a group of demons. To the right is a half-dressed woman with a skull in her hands, which could be Eve or the adulterous woman. This figure is not praying on her knees but is sitting on two lions. The jambs are Saint Andrew and Moses. In the left abutment, the Biblical King David seated on his throne with his legs crossed, translucent through the thin fabric of her clothes, and playing a viola, personifies the triumph over evil and is an outstanding work of the Romanesque, sculpted by Master Esteban. The creation of Adam and Christ's blessing is also shown. Many of these figures come from the Romanesque façade of the north or do Paraíso (current façade of the Acibecharía) and were placed on this façade in the 18th century.

In the tympanum of the right door there are several scenes from the Passion of Christ and the Adoration of the Magi. In one of the jambs is the inscription commemorating the laying of the stone: ERA / IC / XVI / V IDUS / JULLII  Registration follows the Roman calendar, according to the computation of the call Spanish era, corresponding to July 11, 1078. An image, unidentified, on a fox eats a rabbit and, against this, a badly dressed woman with an animal in her lap, comes from elsewhere. Supported on the wall of the tower Berenguela appear other images representing the creation of Eve; Christ on a throne and the Binding of Isaac.

North façade or da Acibecharía

The façade "da Acibecharía" (Galician name derived from the jet gemstone) is in the Praza da Inmaculada or Acibecharía, draining the last section of urban roads: French, Primitive, Northern and English through the old gate Franxígena or Paradise door. The Romanesque portal was built in 1122 by Bernardo, treasurer of the temple. This gate was demolished after suffering a fire in 1758, some sculptural pieces that were saved were placed on the façade das Pratarías. The new façade was designed in Baroque style by Lucas Ferro Caaveiro and finished by Domingo Lois Monteagudo and Clemente Fernández Sarela in the neoclassical style in 1769, although it retained some traces of the baroque.

At the top of the façade is an 18th-century statue of St. James, with two kings at his feet in prayer: Alfonso III of Asturias and Ordoño II of León. In the center is the statue of Faith.

East façade or da Quintana

The façade of the cathedral that overlooks the Quintana Square has two gates: the Porta Real (royal gate) and the Porta Santa (holy gate).  The construction of the Porta Real, baroque, begun under the direction of José de Vega y Verdugo and by José de la Peña de Toro in 1666, and was completed by Domingo de Andrade in 1700, who built some of the columns that span two floors of windows, a balustrade with large pinnacles and an aedicula with an equestrian statue of Saint James (now disappeared), well adorned with decorative fruit clusters and large-scale military trophies. The kings of Spain entered the cathedral through this door, hence its name, and on its lintel is the royal coat of arms.

The so-called Holy Door (Porta Santa) or Door of Forgiveness (Porta do Perdón) is the closest to the steps, is usually closed with a fence and opened only in Jubilee Years (years when St James's Day falls on a Sunday). It was one of the seven lesser gates and was dedicated to St. Pelagius (whose monastery is just opposite). On this door niches contain the image of James and his disciples Athanasius and Theodore at his side. On the bottom and sides of the door were placed twenty-four figures of prophets and apostles (including St. James) coming from the old stone choir of Master Mateo. Inside this door through a small courtyard is the true Holy Door, which enters into the ambulatory of the apse of the church.