As is usual in the full Romanesque style, of the three semicircular and aligned apses which make up the apse, the central apse is the most articulated and decorated space. It is divided into two levels: the lower level consists of a smooth plinth and blind arches over the molding. The three arches rest on two pairs of central columns that in turn frame the axial window. Above the cylindrical wall there is a semi-dome vault that was very much reworked during the restoration of the fifties of the last century. The lateral apses simplify the structure by obviating the arches.

In general, the capitals show a varied ornamental repertoire, although treated in a summary and somewhat crude manner. One can already guess the figures of eagles in the corner with their claws on the hypotrachelium which would be so frequent in the Navarrese Romanesque of the first half of the twelfth century. There are also angled heads with large hands, figures between intertwined stems. And the moldings decorated with elaborate vine leaves and bunches of grapes, particularly related to the Eucharist and its liturgy, stand out.

Let’s leave the chapels of the chancel to move towards the foot area, towards the Gothic arcades of the choir loft, below the great resplendent choir. Once you get there press 7.