Let’s take a look now at several elements that one has a magnificent view of from the choir. If we look at the junctures of the three cross-ribbed sections, three magnificent keystones can be seen. The two closest are polychrome and with a religious content. Above our heads we see again the representation of the Virgin and Child. It seems especially significant that the first constructed section of the new Gothic building finishes off its capiella with the representation of the temple’s patron saint. It is followed by the representation of the Pantocrator, a synthesis of the image of Christ-God surrounded by the tetramorphs.

Let’s take a closer look at the last keystone. It shows the coat of arms of Navarre and France three times. The largest coat of arms occupies the entire disk of the piece, has a crown and is accompanied by two doves, one on each side. The workmanship of the piece is solid and detailed. It has recently been discovered that Charles II used these coats of arms from mid 1363 to the end of 1364, thus giving us a date for the end of the Gothic work. It also conveys the strong bond of Charles II with the uxoak (dove) of the Virgin, with the doves of the legendary origin of the sanctuary, whose story would already be perfectly established in the fourteenth century.

The choir preserves two relevant pieces of its appointments: the choir stalls and the lectern. The stalls are decorated with beautiful walnut panels carved with bas-reliefs. These were made in the late eighteenth century.

If we walk a few steps towards the north wall we will discover another of the treasures the last restoration brought to light. Once we get there press number 11.