The south door, or Puerta de las Platerias, takes this name from the silversmiths whose workshops are still under the arcades around the Plaza on to which it opens. It is the oldest portion of the Cathedral and dates from the foundation. The shafts contain tiers of figures in carved niches, and the tympanum has rows of smaller ones. The north door fronts on to the Plaza Fuente San Juan, and faces the convent of San Martin Pinario, which was founded in 912 by Ordoño II. In the days before this Plaza was officially given its present name, it was known as Azabacheria, _azabache_ is jet, and it was here that vast quantities of rosaries made of this were sold to pilgrims. In the south-east angle of the Cathedral is the Puerta Santa, bearing the inscription "Hace est domus Dei et porta coeli." It is only opened in the Jubilee year and then by the archbishop himself. The entrance to it is from the Plaza de los Literarios. It will be seen from this that the Cathedral is practically set in four great Plazas, el Mayor, de las Platerías, la Fuente San Juan, and de los Literarios, and for this reason, although the roof towers high above, it is one of the few Cathedrals the size of which can be appreciated by an exterior view. The early Romanesque interior is superb, and not unlike our own Ely Cathedral. The finest thing in it of archæological interest is the "Portico de la Gloria," which Street calls "one of the greatest glories of Christian Art." This Portico, situated at the west end of the nave, formed at one time the façade. The idea of the whole doorway is Christ at the Last Judgment. His figure, twice life-size, occupies the centre. Below Him is seated St. James, while around them are angels worshipping. Four and twenty elders are arranged in the circumference of the archivolt; each one holds a musical instrument, most of which are shaped like violas and guitars. A most beautifully sculptured marble column supports this in the centre, resting on a base of devils, with the portrait of Maestro Matio, who executed the whole from his own designs, facing the nave. An inscription under this doorway states that the work was finished in 1188. To the right and left are smaller arches, portraying in well-cut granite good souls on their way to Paradise and wicked ones in the clutches of devils on their way to Hell. Nothing can exceed the primitive religious feeling pervading this work. Mateo must have given his whole soul with fervour to his labours; and the almost obliterated traces of painting and gilding enhance their result by giving a touch of warmth to the cold colour of the stone. West of the portico, above which are the remains of a fine wheel window, has been built the present Renaissance façade known as El Obradorio, the two being connected by quadripartite vaulting. The nave itself has a walled-in triforium, but no clerestory and the vaulting of the roof is barrel.