The monumentality and beauty of the foot section clearly sets out the artistic commitment of the Gothic project. The extensive built volume is divided into two levels, by means of a slab underpinned by three sections of cross-ribbed vaults.

The samples of monumental sculpture which decorate the corbels of the windows of the choir loft, as well as the keystones of the three sections of the vaults, are very interesting. The first corbels have deeply carved and detailed vegetal decorations, very plastic and naturalistic. The more elaborate corbels add animals. The most mysterious and suggestive, and perhaps one of the most disturbing sculptural works of this part of the temple is a woman’s head, suffering, with her half-open mouth and large almond-shaped eyes; as a headdress she wears two wine barrels tied around her neck. The ultimate meaning of the image escapes us. Among the keystones there is a magnificent keystone with the Agnus Dei in the centre which stands out; it is flanked by an eagle of St. John and a Green-man, the first of a long series of plant men and women that we will see in various places in the building.

If we look closely at the western gable walls, around the windows, imprints of garlands and inscriptions in black letters can still be seen. These are the decorative motifs which prepared the temple for the funerals for the soul of King Charles II, who died, as we know, in 1386. These funerals were held in the three Navarrese sanctuaries which received his mortal remains: Ujué, Roncervalles and Pamplona. The documentation confirms that the masters Juan Oliver, Jimeno Górriz, Alfonso y Ferrando were commissioned to decorate same with, «300 large paper coats of arms, 200 medium ones and another 200 small coats of arms, painted in simple colours, without silver or gold, which will be tied with graceful black wreaths«.

Press number 9.