In the magazine Don Lope de Sosa (1924) Don Manuel Muro García published a document of great interest on the conditions elaborated by Andrés de Vandelvira to make the upper gallery, complemented with some explanatory drawings in the margins, which are practically the only drawings, so far, they have come from his hand. The document is dated May 3, 1561, and -although it basically contains the architectural forms of the gallery's work- Vandelvira, no doubt, was responsible for a large part of the building, of which a only the façade has arrived intact today. V.M. Ruiz Fuentes provides new data on the construction process, as he states that the portal and the second body of the façade are already raised before 1561, the date of the beginning of the upper gallery, which was completed around 1563.

The palace does not conserve the patio, which was perhaps also designed by Vandelvira, of which we know that its construction began around 1564. The large stone facade, markedly horizontal, is divided into three floors; in the lower and centered the portal is located, lintelled and with two Corinthian columns (with alternating staves) on pedestals; In axis with it, the stacked main balcony with a triangular pediment rises in the middle, sheltered with the family heraldry supported by "savages", at the ends two more balconies with Ionic columns with heavy entablatures and triangular pediments open. The corner windows of the noble or intermediate floor acquire special prominence, in the manner of those of the palace of Dean Ortega, with a central white marble column, pilasters and triangular pediment. The gallery on the top floor is made up of a series of semicircular arches on pillars, repeating the flat design with a column at the corners. This piece is the most plastic of the set, due to the wise arrangement of the hollow and the solid, since the rest of the façade is somewhat heavy, being the isolated elements of the same the ones that give it excellence.

An interesting fact is the use of the balcony, which will slowly be imposed on the window. Finally, the cornice-entablature, used in the nearby palace of Vázquez de Molina, with a marked Italian accent, is repeated in this palace, in which Andrés de Vandelvira also intervenes and is responsible for a large part of its factory. Mr. Fernando Chueca Goitia was of the opinion -in the monograph dedicated to the life and work of Andrés de Vandelvira- that the structuring of the facade of the Vela de los Cobos house is radically Castilian and is in line with the mature works of Alonso de Cobarrubias, royal architect.

In any case, what was done in this palace by Vandelvira will be taken as a point of reference in other Ubetan palaces, such as that of the Marqués de la Rambla (16th century), that of Mancera (from the late 16th century), in which it is copied with few variations the open gallery in the last body of its tower, or that of the Count of Guadiana, in whose tower, built in the first two decades of the 17th century, the model of the corner balcony with a marble column is repeated, while the composition of the said gallery is recreated in the last section once more. But the Vela de los Cobos palace gallery will not only accommodate large buildings, but will also be frequently used in the popular vernacular architecture of the city of Úbeda throughout the 17th and 18th centuries.