In 1767, after the Jesuits were expelled from Spain, the basilica was annexed to the parish of San Nicolás and, in 1892 it was transferred to the Redentorista religious order. In 1927, after the construction of the new church of San Ignacio, the nave of the former basilica was partially demolished, so that the spot where the saint is said to have fallen was left on the open street. The spot is now marked with a commemorative stone.

If you go along the street Cortes de Navarra, you will come to the street Cuesta de Labrit, where the street of San Agustin ends. Here you will find the Basilica of San Martin (3), a small baroque building with an eighteenth century portal designed by Pedro de Aizpun. You can see an ostensory, the emblem of the brotherhood of the Holy Sacrament that occupies the chapel, and on either side, an escutcheon with the Five Wounds. In the same street, the parish church of San Agustin (4) stands on the site of the former convent of the Augustinians or Agustinos, founded by Carlos II of Navarre in 1355. The building bears all the characteristics of a sixteenth century convent, which is the period when it was constructed. However, the façade was erected between 1887 and 1900, based on the drawings of the diocesan architect, Florencio Ansoleaga. The interior houses some baroque altarpieces, amongst which the most notable is that of San José and the Guardian Angel, brought from the former Carmen Calzado convent.

During the virulent epidemic of the plague that the city suffered in 1599, the bishop received a revelation in which he was promised that the healthy would not fall sick and that the people affected by the plague would be cured if they all wore a seal with the representation of the Five Wounds of Christ. Given the effectiveness of the measure and to show their gratitude, the City Government decided to perpetually celebrate this event called “the vow of the Five Wounds”.

   
The street named calle Compañía, running parallel to the Calle Agustin, received its name due to the fact that it was location of the first house that the Compañía de Jesús had in Pamplona. This was inaugurated at the end of the 16^th century. The Jesuits then went on to open the school Colegio de la Anunciata and alongside it, at the beginning of the seventeenth century they erected the church of Jesús y María (5). After the expulsion of the Order this became the chapel of the seminary, as can be seen by the inscription on its façade. In 1927 the church was given back to the Jesuits however, in 1951, when the Order constructed the new school, the parish of San Juan Bautista was transferred to it from the Navarrería. Today the building is occupied by the Official Language School of Navarre, which opened its doors in 1978. The former school quadrangle can be found in the building’s interior.

The primitive convent was dedicated to St James (Santiago) since there was a hermitage dedicated to the apostle within its premises. For this reason, in the portal of the current building, it is still possible to observe the image of the saint dressed as a pilgrim together with two other Dominican saints, Santo Tomás de Aquino and San Vicente Ferrer.

Claustro del Convento de Santo Domingo
The church of Santiago has all the architectural features that are characteristic of a church of the Dominican order: an ample nave with communicating chapels between the buttresses, a jutting out transept and a pentagonal chevet between two square chapels. The façade was constructed at a later date, in the second half of the eighteenth century. In the church interior, in addition to an interesting display of baroque altarpieces, we would highlight the reredos which is the work of Pierres Picart and Juan de Beauves, the rococo chapel of San Vicente, opposite the entrance, the relief of the Sagrada Parentela (Holy Relations), dated to 1560, in the chapel of Nuestra Señora de Nieva and the mid-eighteenth century organ.

From 1757 onwards, classes in medicine and anatomy were also given here. The hospital operated as such until 1925 and, from 1956 onwards it became the seat of the Museum of Navarre. 

In 1932 the charity hospital came under the Navarre Health Service and was transferred to the area known as the “Soto de Barañain” where it is still located.

The collection: In the basement, the museum exhibits prehistoric and protohistoric items. The first floor is dedicated to Roman art, with a notable collection of mosaic pavements coming principally from rural villas. Medieval art is to be found on the first and second floors and, amongst the items on show, of note are the Romanesque capitals from the former cathedral, the Hispano-Muslim chest from the monastery of Leire and the chalice that Carlos III gave to the church of Santa María de Ujué. The Renaissance works are on the second floor and, in addition to the mural paintings from the palace of Oriz, there is a magnificent wooden carving of a penitent San Jerónimo by Juan de Anchieta. The third floor is dedicated to the 16^th, 17^th and 18^th centuries with works by Vicente Berdusán, Claudio Coello and Mateo Cerezo, in addition to the cycle of the Creation painted on copper by the Flemish artist Jacob Bouttats. Special mention goes to the portrait of the Marqués de San Adrián, painted by Goya in 1804. Finally, the collection is completed with some 20^th century works.

Convent of the Carmelitas Descalzos (10)
During the 17^th century, new foundations of religious orders gradually settled inside the city. The first order to do so were the Discalced Carmelite Nuns o Carmelitas Descalzas who occupied the plot of land which remained after the castle of Fernando the Catholic had been demolished, followed by the female religious order the Madres Agustinas Recoletas and the Discalced Carmelite Friars.

The Carmelite Friors obtained permission to settle within the walled enclosure in 1637, however they experienced problems when they tried to erect a church there. 

The nearby parish church of San Lorenzo filed a complaint, given the fact that, a few years earlier, the church of the Agustinas Recoletas has been consecrated and the parish of San Lorenz considered that yet another church so close by would take away its church goers and reduce its income. Permission was finally granted and the church of the Carmelite Friors was completed in 1673. The façade can be contemplated from a certain distance, despite the closeness of the buildings in the old quarters of the city. This is because the Carmelite Friors were responsible for demolishing part of the nearby buildings in order to widen the Calle Descalzos at the site of the convent. 

The design is characteristic of 17^th century convent architecture, very similar to the nearby church of Las Recoletas. Inside we would highlight the chapel of San Joaquín, remodelled in the 18^th century with a profuse decoration of fine ornamental plasterwork.

The basilica houses the Virgen de la Esperanza (Virgin of Hope) or the Virgin of the O, a monumental sculpture made in polychromed stone dating back to the first half of the 14^th century and which is generally considered to be related to the Virgin of Amparo of the Pamplona cathedral cloister. This sculpture depicts a peculiar gesture of the Child, caressing his mother’s chin, like some of the French Virgins.

Amongst other works, he also designed the Plaza Mayor, the main square of Madrid. The work was completed in 1634, producing a building along the lines of seventeenth century convent architecture, similar to the Convent of the Encarnación of Madrid.

The austerity of the building exterior does not reflect the fine baroque altarpieces to be found inside the temple. Of particular note are the reredos and the two side altar screens, forming a beautiful unit that Francisco Gurrea y Garcia was commissioned to create in 1700. The temple decoration also includes a collection of tapestries based on sketches by Rubens, only equalled by the tapestry of the Descalzas Reales of Madrid.

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