Polychromy of the main altarpiece

Its gilding and polychromy was the work of the Aragonese Francisco del Plano in 1684, carried out with delicacy and neatness, according to a contract in which all subject of the details were recorded. The ensemble, with its different treatments of gold in its estofados, is one of the best conserved in Navarre from this period, which can be explained, in part, by the extraordinary quality of the person who carried it out, Francisco del Plano, a gilder and great Aragonese painter of the time who was noted for his great Baroque and scenographic decorations, such as the set of altarpieces in the convent of San Francisco de Viana.

Among its clauses we read: "The cassette of the Virgin is to be gilded all in clean gold, and the back is to be gilded with a three-step brocade, as beautiful as possible, and the garnish or moulding in clean gold, and the columns with gilded fields and grapes and vine shoots imitated in the natural style, and the capitals coloured and the crests gilded in clean gold. The panel must be gilded and the curtains with matching brocade, as well as the pedestal on which Our Lady stands".

All this work was recognised by Francisco Gurrea and Sebastián de Sola y Calahorra in March 1685, who considered it to be well done in the light of the chapters of the contract and their knowledge. With the exception of some grapes "that are white on the columns, which should be made black", in accordance with the rest and that the roses that are on the green crests should be made red.