The belfry can be accessed through a narrow but short passageway at the antecoro, the room just before the choirloft. This passageway is a spiral staircase of adobe with a balustrade at the upperhalf made of hardwood. The first level leads to the rooftop while the bells can be found at the second level. Note that in 1854, it was agreed in a meeting that this second level be added for aesthetic reasons.

Upon entering the choirloft, one is greeted with the massive facistol or lectern rising to a few meters at the center. It is believed to have been carved between the years 1728 - 1734 during the term of Fray Felix Trillo who was prior and then provincial during that time.

The choirstalls (left) at the choirloft is one of the intriguing works at San Agustin. The detailed woodwork calls to mind the intricacies of the pulpit and the motifs found makes it all the more valuable. Just imagine, strapwork done in the Renaissance style combined with Oriental emblems that attests to the uniqueness of religious art in this part of the world.

The choirloft of San Agustin is another notable part of the church that should be seen and visited not only for a closer look of the trompe l’oeil and the organ but, more importantly, a peek of the original colors of the church that was fortunately preserved and the exquisite and very detailed carvings of, circa 17th century silleria or choirstalls and lectern (18th century).

The gran escalera or the main stairway is the access path connecting the ground and second floors and it is one part of the monastery complex that always awes. Maybe it is because of the impressive brick vault atop, said to have special acoustical characteristics, the solid and wide granite slabs and everything in it that gives one a feeling of being transported to some bygone era.

How the original ceiling paintings of the nave of San Agustin is not known, or I haven’t come across a document that details it, yet. Galende and Trota in their book San Agustin Art and History 1571 - 2000 however included a photo (left) of a portion of a corinthian capital in bright greens, yellows, reds and oranges that the authors wrote is reminiscent of baroque Mexico.