Along with the sculptures and paintings of San Fermín, a good issue of pieces belonging to the so-called sumptuary arts are preserved, although there must have been many more, because they were precisely those that, because of their value and size, were more within reach of homes and people in the past, when the religious phenomenon was so closely linked to society. A medal to wear or an engraving to hang on the domestic wall were very present in everyday life until the twentieth century. Also noteworthy are some silver objects and stained glass, in this case more linked to the ecclesiastical heritage, as well as polychrome clay molds from the second third of the seventeenth century to make small images of the saint with the coat of arms of Navarre.

The iconographic models are those of the figurative arts of the time. The characterization of the saint is very simple: a bishop with episcopal vestments and insignia, ring, crosier and mitre. The red pluvial cape alludes to his martyrdom. The dark face was not exclusive to the reliquary bust in his chapel, his official image, but was repeated in other works. Regarding the iconographic types, we only have the isolated image as bishop and as for the scenes of his life, it should be noted that they are scarce, highlighting the representations of his martyrdom.

Devotional prints

Engraved prints were, in times past, a fundamental means of spreading devotions, since for a modest price it was possible to satisfy the desire to empathize with some icons from reference letter. In the case of San Fermín of the parish of San Lorenzo, a somewhat free version of the same is provided by the engraving that illustrates the Constitutions of the Royal Congregation of San Fermín de los Navarros, a work by Juan Francisco Leonardo in 1684, which was also thrown away separately. The engraver reproduced a reliquary bust more elongated than the Pamplona model and with the reliquary arranged horizontally with respect to its axis.

The first loose print preserved as such was made by the Pamplona silversmith Fermín Galindo at the end of the 17th century and reproduces the bust of the parish of San Lorenzo. It must not have been profusely thrown away and the only copy we know of is kept at the Library Services Nacional de Madrid.

Another freer version, with a declamatory gesture, offers the engraving by Bernard Picart, made in 1714, whose plate was given to the city of Pamplona by Norberto de Arizcun, from Baztan, to print as many images as necessary. The city council adopted it as the official image of the saint, by preventing, by agreement municipal of 1715 to all the printers of the city that whenever they needed to take portraits of the patron saint, they should do it with the mentioned matrix. Its success was B and the prints were used at different times by the authorities to request funds and prizes for the adornment of the chapel. Sometimes taffetas and silks were printed for civil and ecclesiastical authorities. In addition, its plate was copied literally by José Dordal, A engraver from Aragon, in 1798, at the expense of a discalced Carmelite nun, possibly Fermina de la Santísima Trinidad (Berrueta), from the convent of San José de Pamplona, who died in 1806.

In 1721 the silversmith established in Pamplona, Juan de la Cruz, opened a plate dedicated to the Virgen del Camino. In its lower part appear San Fermín and San Saturnino. It was retouched on numerous occasions and served as model for canvases and other embroidered works in Navarre, Spain and even New Spain.

The engraver of the illustrations of the Annals of Navarre, in its Pamplona edition of 1766, José Lamarca, made a large plate reproducing the throne of the saint in his chapel in 1756 that would serve as model for canvases, such as the one signed by Pedro Antonio de Rada of the Municipal file or the neoclassical version of the parish of Irañeta, signed by Miguel Sanz Benito in 1849.

Although they were not made in Navarre, it is necessary to mention, for its projection, the plates that the Royal Congregation of San Fermín of the Navarrese commissioned in Madrid in the 18th century to distinguished artists such as Juan Bernabé Palomino, Manuel Espinosa or Fray Matías de Irala. In some cases, as in Palomino's print, the composition is completed with figures of converts, cripples, and even in the background there is room for the saint's tomb, from where lights attract various sick people.

In the 1766 edition of the Annals: preparatory drawing and test of state.

The illustrated edition of the Anales de Navarra of 1766 incorporated several scenes at the head of its books. The preparatory drawings and state proofs have been preserved and, in some cases, the plates themselves, making it possible to study the creative process.

The third book contains the finding and invention of the body of San Fermín. From a text full of details by Father Moret, the Aragonese painter and engraver José Lamarca captured the scene in a drawing in pen and watercolor, which shows a bishop and his retinue, the people around the tomb of the saint, illuminated by celestial lights. However, the deputies of the Kingdom, examiners of the drawing, considered that they should add "some clergymen, many flowers, the earth moved, the brightness of the throne to the ground and erasing the pedestal, a country and three kinds of trees, one with flower, another with fruit buds and another with seasoned fruit, somewhat inclined branches with the weight of it" should be made. This was done, correcting and adding all these anecdotal details from Moret's text, which were going to help the reader so much, since he had the parallelism between the text and the image at his fingertips. It does not seem that Lamarca was inspired for this scene in any painting, although he could have been inspired in some of the paintings that then decorated the chapel of San Fermín in the parish of San Lorenzo.

Co-patron on engravings and medals

The images of the co-patrons of Navarre must be contextualized in plenary session of the Executive Council period of the Catholic Reform, when renewed ideals of sanctity were in vogue and the Deputation of the Kingdom of Navarre, in 1621, received Xavier as patron saint , proposing that the Cortes, as an institution that embodied the Kingdom itself, ratify the board of trustees, something that happened in 1624. In Navarre, the javieristas, strongly influenced by the Jesuits, were supported by the very institutions of the Kingdom -Courts and Diputación-, among whose members there were former students of the Society, while the ferministas were supported by the city of Pamplona and the chapter of its cathedral, together with a clergy quite suspicious of the power and influence that the sons of St. Ignatius were achieving. The lawsuit reached the Roman Curia and ended with a Papal Brief in 1657, declaring San Fermin and San Francisco Javier aeque patroni principales of the Kingdom.

Among the works that, due to their character of book cover, reached an enormous diffusion and served for model to sculptors and painters, we have to mention two prints that accompany two works of Father Moret, chronicler of the kingdom and author of the Investigaciones históricas de las antigüedades del Reyno de Navarra (1665) and of the Anales (1684).

Many altarpieces incorporated the co-patrons in their side streets. One of them, the largest of Ujué, was engraved by Miguel Gamborino (ca. 1800) and many copies were stamped with his plate. Medals were also distributed from Ujué throughout the 18th century, made in gilded bronze and imported from Rome, with the Virgin on the obverse and the co-patrons San Fermín and San Francisco Javier on the reverse. Later, at the end of the XVIII century and beginning of the following century, they stopped being imported, being ordered to a "silversmith" of Tafalla.

A medal made in Rome in 1731

At the end of the third decade of the 18th century and the beginning of the following one, the archdeacon of the Chamber of the Pamplona Cathedral, as agent of the chapter, Don Pascual Beltrán de Gayarre, was in Rome. The cathedral keeps rich legacies from that stay. Among the commissions he made in the Eternal City are two engravings of the Virgen del Sagrario and a medal of the same image with San Fermín on the reverse, made around 1731. Some of those medals traveled overseas, along with engravings of the Virgen del Sagrario and San Fermín, as a gift from the chapter to Don José de Armendáriz, Marquis of Castelfuerte and Viceroy of Lima. San Fermín appears as a bishop, with pluvial cape and mitre, half bust, blessing with the right hand and with the crosier in the left. The medal is very rare, a copy is kept at the file Municipal de Pamplona and its creation must be contextualized at a time when the religious medal achieved great success in Spain and other Catholic nations.

Stained glass, silverware and embroidery

The presence of the saint in stained glass has some examples, highlighting those of the cathedral (nave and Barbazana), his chapel in San Lorenzo, the town hall or the collegiate church of Roncesvalles. As for silverware, it is worth mentioning the silver bust of the cathedral, several reliquaries in places of worship that incorporate miniature paintings of the saint and the cloak (1687) and reliquary (1572) of the bust of the parish of San Lorenzo. The spectacular silver-plated base of this last image reproduces in relief some scenes of his life, such as his martyrdom. position The author of its design was the famous engraver and painter from Aragon, Carlos Casanova, and its realization was made by the Pamplona silversmith Antonio Ripando in 1736.

The silver frontal and the silver credence of the saint's chapel, works of outstanding goldsmiths from Pamplona such as José Yábar, Antonio Ripando and Juan Antonio Hernández (1725 and 1733), incorporate the episcopal figure of San Fermín in the center, between the allegories of merit and the award.

The sacras of the chapel are the work of the aforementioned José de Yábar (1774) and among their gilded medallions are those of the coats of arms of Pamplona and Navarre, as well as the representations of San Saturnino, San Francisco Javier and San Fermín. For the latter two, the models of Roman medals were copied directly, in the case of San Fermín from the aforementioned medal of 1731.

The coats of the ternos of the cathedral of Pamplona and of the parish of San Lorenzo, incorporate the embroidered image of the saint in full body which, unusually, appears bearded. The cathedral terno was sent in 1786 by the archbishop of Zaragoza, Don Agustín de Lezo y Palomeque (bishop of Pamplona between 1779 and 1783) and was made by the embroiderer José Lizuain, who was also the author of the terno of San Lorenzo (1788), studied by Alicia Andueza.

Along with the cult embroidery, there are also more popular embroideries, some of them made by school students, who copied drawings taken from prints. In the exhibition Pamplona y San Cernin 1611-2011 an embroidery made around 1840 by a fifteen year old girl and dedicated to her parents could be seen, in which with design by the Sangüesa painter Marcos Sasal, the inspiration comes from the engraving of the Virgen del Camino with San Saturnino and San Fermín of 1721, mentioned above.

Lithographs for prints and festival posters and programs

Ignacio Urricelqui points out that the image of the saint was hardly treated in the Sanferminero poster, especially when compared to the repertoire of images linked to the running of the bulls or the scenes of dancing, giants and big-heads. There have been some exceptions in recent decades.

At the end of the 19th century, the colored lithographs of the prestigious house Portabella of Zaragoza reproduced compositions by various authors, such as the one in the 1899 program signed by Istúriz, where the saint appears in the procession, at a time when color was captivating in posters and even in small prints of the saint.