The importance and scope of some of the artistic projects of the 18th century, called by Caro Baroja as La Hora Navarra, had its origin in the direct kinship of some nuns with three of the viceroys of Navarre in the Indies, specifically with the sister of Don José Armendáriz, viceroy of Peru, in the Benedictine nuns of Corella; the sisters of Don Manuel de Guirior, also of Peru, in the Agustinas de San Pedro de Pamplona and the niece of Don Sebastián Eslava, viceroy of Nueva Granada, in the Comendadoras de Puente la Reina.

The great example of a brother with a high social position, who protected the Benedictine community of Corella, is Don José Armendáriz y Perurena (1670-1740), who followed the military degree program with success, as captain of cavalry, in Flanders, master of the field in Catalonia, Portugal and Gibraltar. After the battle of Villaviciosa he was named knight of Santiago and marquis of Castelfuerte. He intervened in the pacification of Aragon and in the siege of Barcelona in 1714, later moving on to Sardinia. He was inspector general of the cavalry and dragoons of Aragon, captain general of Guipuzcoa and knight of the Golden Fleece, captain general of the armies, culminating his degree program as viceroy of Peru between 1724 and 1736. He had one of the most important palaces in 18th century Pamplona and projected his image, as B of the society, with generous donations for the Pamplona chapels of San Fermín and the Virgen del Camino, for the Virgen del Rosario de los Dominicos, where he was buried, and for the titular of the cathedral itself, the Virgen del Sagrario.

The Marquis had his sister Tomasa de San Benito in the convent of the Benedictine Sisters of Corella, reason for which he helped the nuns with different alms and special gifts. Sister Tomasa entered the Corella cloister in 1690, made her solemn profession in November of 1692, contributing 800 ducats as dowry and 600 ducats, in concept of the Withdrawal to her inheritance. He died at the age of ninety in 1761. The viceroy paid for the main altarpiece of his church, as Arrese pointed out, taking a grade from the conventual chronicle which states that, due to the death of the viceroy, it was his brother Don Juan Francisco who paid for the two collaterals and the main altarpiece, the cost of which amounted to 2,300 pesos. Of its material execution was made position between 1741 and 1744 the Tudela retablist Baltasar de Gambarte, following the traces of the Pamplona overseer José Pérez de Eulate, by order of his successor in the marquisate his brother don Juan Francisco Armendáriz y Perurena, who also commissioned the sepulcher in black stone of Calatorao to Juan Bautista Eizmendi.

In the altarpiece there are still evident signs of the viceroy's munificence. Specifically, on the panels of the bench his arms were sculpted, bordered with the cross of Santiago, the crown of marquis and the Golden Fleece, although the field of the heraldic emblem was later replaced by the cross of St. Benedict.

Other pieces sent by the viceroy, according to the documentation, were a silver Virgin of Copacabana, four large candlesticks, sixty silver candlesticks and a monstrance. The internship totality of the pieces has disappeared, having been sold for the needs of the community or to invest the proceeds in other more necessary items.

The conventual chronicle refers to the candlesticks as follows: "HisExcellency Don José Armendáriz, viceroy of the kingdom of Peru, sent to this community four large silver candlesticks weighing 409 ounces". The Copacabana is also collected, with the warning that it was large and with its doors to be closed and with all the silver cup.

Regarding the monstrance, it is stated: "But the said Most Excellent Mr. Armendariz sent to this community a monstrance weighing eighteen ounces of silver, gilded and very well carved, and he also sent sixty silver censers". The monstrance has been preserved in the Benedictine monastery of Miralbueno, where it was taken from Corella in 1970. It is a scarcely known piece, but its characteristics are similar to the Peruvian ostensories preserved in Navarre, such as the one from Arriba (c. 1685), Fustiñana (1693), Añorbe (late 17th century), or the one from the Franciscans of Olite (1740-1750), with which it is most closely related due to its chronology, although the one in question has no enamels. The piece follows the general lines of the Limean baroque ostensories, with four claw feet that are nailed in spherical forms and culminate in vegetal leaves and support a square base with convex lower body and a wide truncated cone-shaped gland of curved profile that culminates in a circular plate. In the shaft a cylinder is superimposed between grooved plates, an ovoid knot and a small cup that serves as a seat for the sun. The sun has a rich and complex design, simulating an openwork glow in the form of lace with rays of geometric motifs topped by knobs. The decoration is superimposed, with fused motifs based on vegetal elements and sphinxes that appear in various places on the shaft and at the base of the sun.

The viceroy's family continued to protect the Benedictine nuns of Corella, because Sister Tomasa was still in the cloister, until her death in 1761, and her relations with her brothers and nephews must have been important. The gilding of the main altarpiece was done in 1755 at the expense of Don Juan Esteban de Armendariz, nephew of the viceroy and Sister Tomasa. Its cost amounted to 9,000 pesos. The following year, in 1756, the nuns, with the permission of the bishop of Tarazona, sold the censers sent by the viceroy for 4,499 pesos and with part of the proceeds proceeded to gild the side altarpieces of the Virgen del Socorro and St. Benedict. The gilding amounted to 3,000 pesos, the rest of the amount of the sale was invested in the church and in rebuilding the main portico with its doors.

The nuns responded to such gifts with the application of different suffrages, specifically with an anniversary for the viceroy, the Mass of the day of the translation of St. Benedict for Don Juan Francisco and the Mass of St. Stephen's Day for the soul of Juan Esteban.

Another example with the same relationship, in this case with two nuns of the monastery of Agustinas de San Pedro de Pamplona, is that of Don Manuel de Guirior (1708-1788), knight of Malta, captain general of New Granada between 1772 and 1776 and viceroy of Peru between 1776 and 1780. The secular tradition had been gathering that the two beautiful suits, red and white, with their corresponding fronts, had been a gift from Don Manuel to his daughters. Trying to verify it, we were able to find out that Sister Maria Ana Felipa and Sister Ana Josefa (or Maria Josefa in other documents), documented in the community, lived in the monastery between 1733 and 1765 the first one and 1733 and 1805 the second one. Contrasting data and, above all, the chronology of the viceroy and the nuns, it is necessary to conclude that both nuns were not daughters, as it was repeated among the nuns and is collected in their chronicle, but sisters, a fact that is corroborated by the will of the one who would become viceroy, granted in Cadiz in 1753, when he left thirty pesos a year, for life, to each one of his religious sisters who lived in the convent of San Pedro de canónigas regulares de San Agustín, named Ana Felipa and María Josefa. The date of the ternos could be related to a very special event, which was the call to Cortes of Don Manuel de Guirior, whose transcript is dated in 1765, and in any case it would be before the death of Ana Felipa, around 1766.

All these data have led Alicia Andueza, specialist in the topic of embroidery, to attribute the two ternos to Francisco Lizuain, a very important embroiderer from Zaragoza, of whom outstanding sets are preserved throughout Navarre.

Finally, we should point out that all the artistic display carried out by the Comendadoras de Puente la Reina was motivated, not only by the healthy income of the community, but also by the arrival of very notable nuns who professed there, among whom we should mention the niece of the viceroy Don Sebastián de Eslava and sister of Gaspar de Eslava, first Marquis of the Real Defensa, Doña Agustina de Eslava y Monzón, who became prioress on several occasions. She was the daughter of Francisco de Eslava y Berrio and María Narcisa de Monzón. Among her father's siblings, in addition to the aforementioned viceroy of Nueva Granada and defender of Cartagena de Indias, were Agustín, the first-born who became a Dominican, and Father José Fermín, a Jesuit. The death certificate of Doña Agustina makes this abundantly clear when it indicates her involvement in the new construction of the convent and church, erected between 1751 and 1759, as well as in the spiritual reform of the same, since it was on her initiative and that of other nuns that the new constitutions were drawn up, prepared by the Capuchin Tomás de Burgui, in the time of Bishop Miranda y Argaiz, in 1762. The obituary of Sister Agustina, written by Don Cristobal Perez, vicar of the convent, is dated November 4, 1789, and after pointing out that she died in an unexpected way, adds: "said lady was prioress in five triennia and governed the convent in the spiritual and temporal with the greatest zeal and prudence and was the first, among the others, who contributed much to the reform of the convent and to the internship of the new constitutions that were formed year 1762 and also the one who suffered the most in the reform of persecutions and tribulations that are inseparable from it, by graduating it the humans of singularity". Doña Agustina was born in Enériz in 1719, entered in 1737, professed in 1738 and was prioress for the three years 1763-1767, 1770-1773, 1779-1782 and 1784-1787. In the same convent of Puente la Reina she had a sister named Clara, who had been professed before her, in 1733.