The literary fame of Alberto Pelairea (1878-1939) had reached a real cima in Navarra at the beginning of 1924. In 1918, he had obtained a great distinction in the Floral Games, on the occasion of the first centenary of the birth of Navarro Villoslada, for his poem graduate "Navarra" and, in 1922, his lyrics were awarded together with Joaquín Larregla's score for the Hymn of Navarra to St. Francis Xavier. In addition to these general causes, there were other more particular ones, in the case of Tudela. The poet's mother -Rita Garbayo- was from Tudela and he himself spent his first and second periods teaching in the capital of La Ribera. Regarding his father, Calixto Pelairea, it has been repeated that he was from Roncal, something that must be clarified, since he was also born in Tudela in 1841, being baptized on March 12 of that year as the son of Julián Pelairea and Martina Zunzarren. Alberto's grandparents acquired in 1839 the house that, under the name of Posada Pelairea, would later become the Hotel Remigio.

The ancestry of Calixto, Alberto's father, was indeed from Roncalesa, as he was the son of Julián, a native of Vidángoz and grandson of Pascual, born in the nearby town of Ustés. In his professional life, Pablo Guijarro recalls that Calixto Pelairea y Zunzarren applied, in 1869, for a teaching position at the School of Drawing in Tudela, arguing in his favor that he was from Tudela and had worked as a draughtsman in Madrid and in the Public Works Department of the province of Navarre, as well as having obtained first place in the civil service examination to teach drawing at the School of the Economic Society of Leon. In spite of his Withdrawal to the civil service examination, he moved to Tudela later, as sample his participation in the organizing commission of a procession with Saint Clare, in October 1885, on the occasion of the end of the cholera in the city.

Leaving his genealogy, it should be noted that Alberto Pelairea had written by 1924 some literary works, both in prose and poetry, focused on the capital of the Ribera. Some of them were intended to obtain benefits for the Servants of Mary, a religious institute in which his relative, Sister Isabel Pelairea Fuertes (Vidángoz, 1909 - Milan, 1990) joined.

Among the Tudela production prior to January 1924, date of the homage of the City Council, to which we have referred, we will highlight the poem dedicated to Joaquín Gaztambide, in 1920, on the occasion of the transfer of his mortal remains to Tudela, as well as a poem to Santa Ana (1922). As for theatrical works we will mention the comic play La boda del Volatín ( 1921), and the zarzuela La hija del santero ( 1924) to which Tomás Jiménez and later José María Viscasillas put music. In Tudela had also premiered, in 1923, at the Sunday School, the comic play graduate "El duende negro". Precisely, the performance of a couple of his works, for the benefit of the Servants of Mary, was the cause of the homage of the Tudela consistory for his altruism, as it had happened a couple of years before in Fitero, when he was named adopted son for similar immediate causes, with the collection of funds to send to the soldiers of the town who were in Africa.

The tribute paid to her on April 21, 1924 was reported, among others, in the regional newspapers Diario de Navarra and La Voz de Navarra. In the latter newspaper (April 20, 1924) we read: "Beautiful is the muse of Pelairea when she sings, when she prays, when she cries, but she is even more beautiful, more gentle and charming when she weaves with the crystal pearls and the threads of light of her verses the juicy gifts of charity...". The event consisted of a meal in the meeting room of the City Hall served by the Hotel Continental, which was attended by as many people as its capacity allowed, around two hundred. At the end, after the interventions of several people, including the mayor and the parish priest of La Magdalena, Pelairea read some verses that carried by degree scroll "My Gratitude", published in the chronicle of the event that signature nothing less than Garcilaso -Raimundo García- director of Diario de Navarra, which ends like this: "In those of us who attended it, the memory of this act will live on, all full of spirituality and emotion, in which Tudela, by paying such an effusive tribute of admiration and affection to its poet, has offered itself as an example of a loving and good city. Everything is deserved by a man of the merit and sympathy of Pelairea".

The poem with its quintillas is, according to Luis Gil Gómez, "a testimony of gratitude to Tudela", in which he poured his feelings and memories of the years of his childhood spent in the city. This is how they ended:

So, my performance,
and let me pray to you
in this beautiful moment,
all my gratitude
that blooms in my soul.
And may you know that I always want
that to your surrendered affection
there is a sincere heart,
in the loving nest
of my town of Fitero
and arms that link
to yours as brothers
and joining hands
today with your mayor embrace
all Tudelanos,
and lips of love close
in their supreme fervor
kissing the bread we eat
and a voice that yearns to speak
and though with gratitude we watch
it rises strong and sovereign
in a toast it flies on high:
Tudelanos! .... For Santa Ana! ...
Tudelanos! ... For Tudela! ...

The parchment is preserved in a private collection and measures 41.4 x 57.4 cms. Diario de Navarra ( April 22, 1924) refers to the piece in these terms: "it is a true work of art made with decorative motifs from the cathedral of Tudela, and enclosed in a beautiful framework ...".The text is from the agreement of the Tudela consistory of January 10 of that year, written in precious calligraphy with an initial that copies that of a medieval manuscript: "The Very Illustrious City Council of the city of Tudela in session of January 10, 1924 agreed to dedicate to the inspired poet Don Alberto Pelairea Garbayo a tribute of gratitude on behalf of this city for the disinterested cession of two of his theatrical works to a group of distinguished ladies and young people from Tudela who represented them in the Teatro Novedades, ceded free of charge for the benefit of the Servants of Mary, contributing with the generosity of all to the permanence in this city of such a charitable Institution ....".

The drawing is signed by N. Martínez in April 1924, who must be identified with Nicasio Martínez. It is organized as a large horizontal frontispiece with a rectangular body between two Romanesque-inspired columns and a highly decorative attic. In the lower part, the heraldic coat of arms of Tudela, surmounted by a mural crown, stands out in the center. The sides are organized with architectural elements, specifically with fragments of walls and columns with capitals clearly inspired in their aesthetics by those of the cloister of the cathedral of Tudela. The one on the left shows a scene from La Cruz de la Atalaya, a work with a Fiteran theme from 1912, and the one on the right shows another inspired by La Hija del Santero ( 1924), a zarzuela to which we referred earlier. Both works with their titles appear on the left and right leaves of an enormous book that appears in the center of the top of the upper part, sheltered along with other elements under a cover whose model is the door of Santa María of the cathedral. Next to the book, we find the lamp of study and vigilance, several books alluding to wisdom and an inkwell with its pens. All this evokes the work of the poet, together with a laurel and a five-pointed Pythagorean star, named by Luca Pacioli as the divine proportion. On both sides of the aforementioned central motif of the cover, we find colorful bouquets and vegetal scrolls inspired, certainly, by elements of the cloister of Tudela.

Professor Esteban Orta has recently dealt with Nicasio Martínez, whom we follow. Nicasio was born in Murchante in 1881 and was soon orphaned. He spent some time in Ablitas, apparently under the protection of the famous collector José Lázaro Galdiano (1862-1847). According to the testimony of María Luisa Martínez, Nicasio's daughter, the artistic works of that mansion in Ablitas must have aroused in the child and adolescent his artistic tastes. He attended programs of study with the Claretians, settled in Zaragoza as a drawing teacher and designer of a stained glass factory. In 1913 he married Carmen Martínez, from Murchante, daughter of Plácido Martínez, businessman, inventor and drawing teacher. Nicasio and Carmen moved to Tudela in 1916, after getting the civil service examination of a place as a teacher in Castel Ruiz, having several disciples, including Miguel Perez Torres. In the capital of the Ribera he combined the teaching with painting and in 1926 he moved to Zaragoza, where he collaborated with the artistic workshops of the Albareda Brothers and attended various commissions, some for Tudela and Castejón. He died in the Aragonese capital in 1958.

Among his works, the precious parchments, decorated with drawings and garlands and rich calligraphy, stand out. Among them deserve accredited specialization the ornaments of the students of high school of Jesuits of Tudela, those of the tributes to Primo de Rivera in Tudela (1928), to the Apostolic School of Javier in its silver anniversary (published in La Avalancha, 1930), to Elvira España in Tudela (1940), to Basiano in Murchante (1951) and the one that now we give to know of Pelairea.

If until 1924 the poet's relationship with people and institutions of Tudela was something evident, what happened between that date and his death was in crescendo and it is corroborated by his literary production, both in verse and prose, with various protagonists of the city: people, relatives, institutions, the patron saint Santa Ana, customs and traditions. All of them were unmistakable signs of that special connection that, in staff, ended in April 1939, when he died. His report, far from being extinguished, bore fruit as shown by an extraordinary issue of the newspaper El Ribereño Navarro, which dedicated several pages to him on the first anniversary of his death in April 1940, the performance of some of his works in the Cervantes Theater of Tudela and the dedication of a street in 1965.