In 1874, the Agustin priests contracted Santiago Eastwood to carry out the remodeling works in the church exterior and interior. Santiago Eastwood, sub-contracts architects, marble masons, stucco plasterers and painters, who will work under his direction and supervision. Many of these works still remain visible in the Church.

The central nave with its vaulted ceiling is richly ornamented with different moldings and with 32 paintings of Benito Rebolledo.

The golden pulpit with an octagonal floor and ceiling can also be highlighted with golden stairways, where in the front there is a sculpture of a full bodied Saint statue, work attributed to the Bavarian Jesuits of Calera de Tango.

As mentioned, the Saint Agustin Church has been submitted to different beautification processes, “modernization” and later restorations all along their existence. What an artist creates one day is then eliminated by another as is the case of the High Altar.

The emblematic High Altar of the Saint Agustin Church, entrusted by the Augustine fathers from the sculptor Bernardo Godoy, around 1798 was built with brick masonry and polychromatic wood; in 1874 the architect Aquiles Dell’Aquila designs a new altar that is built with stone foundations, columns and brick walls, all covered in its exterior with artificial different color marble; the table and slipways are supposed to be made of natural marble. The altar built by Bernardo Godoy with these remodeling works was buried for more than a century.

In the last 2004 restoration, the work by Aquiles Dell’Aquila was eliminated uncovering the High Altar designed by Godoy, which we can appreciate today.

The painting of Our Lady of Grace, located in the High Altar was painted in 1874 by the Italian Helios Rodolfo Gagliardi. He painted it at the same time as the altar structure was built. Recently restored, all its colors can be appreciated.

To the left there is an image of Saint Agustin and to the right of Saint Monica (Saint Agustin’s mother), in carved wood, fire-gilt.

The lateral naves have a ceiling ornamented with different moldings, in general, to the visitor’s view it has warm and luminous colors, setting a direct connection to the heavenly.

Then we see the altars.

The Lord of Mayo Altar (Christ in Agony), popularly known as the Mayo Christ, made in Italy and built with different colored marbles; it has two columns on each side in a baroque style and with a chamfer abacus. Christ’s image, made of polychromatic wood is the work of Father Pedro de Figueroa, who with the help of an anonymous carpenter concluded the work in 1612 and, afterwards, it was placed in the temple. Devotion to this Christ increased with the May 13, 1647 earthquake; as the story goes after the earthquake the only wall standing was the one holding this image of Christ and the crown of thorns came down to the rest around his neck, being impossible to return it back to Christ’s head, which is why it is considered a miraculous image. Since then, the image is taken out in procession during May, being one of the oldest religious ceremonies in Chile, from the time of the Colony to today.

In reference to the myths and legends regarding the Quintrala and the Christ of May, are only those, since the Lord of Agony was installed in 1612 in the temple and it never belonged to the infamous Quintrala.

The Jesus Sacred Hearth Altar is made with white and pinkish marbles, with Corinthian style columns with chamfer abacus and contains Christ’s image in polychromatic wood; in the cornice there are two angles, in a baroque style, belonging to the temple’s colonial stage. There are two accompanying figures, the Dolorosa and Saint Clara de Montefalco, both figures in polychromatic wood.

The Saint Rita Altar (Advocate of the Impossible) made in white, red and black marbles in 1909 by the Bottinelli Company, with Corinthian style columns with chamfer abacus; it houses an oil painting of Eucarpio Espinoza, painted in 1909. This art work, presents the Saint when she has the thorn stigma on her forehead.

The Altar of Our Lady of Carmen made in Italy, similar to the Cristo de Mayo Altar, with red, white and black marble. The image of the Carmen Virgin is supposed to have been donated by Ms. Rebeca Rodríguez Mena, in 1970, who kept it with great care since it was an inheritance from her ancestors. Such image, dressed was made in polychromatic wood.

The Altar of Our Lady of Good Advice, made in 1901 by Eusebio Ceppi, with white, pink, yellow, red and black marble, with Corinthian style columns with chamfer abacus. It houses an oil painting of the Virgin, artwork by Pedro Lira.

The Saint Nicolas de Tolentino Altar made with white marble with black and red ornaments, which has a similar style as the prior ones, contains an oil painting representing the Saint, work attributed to Saverio Morra, with an undetermined date.

The Altar de Our Lady of the Sacred Heart Altar (Advocate of difficult and desperate causes) is made of white marble, with Corinthian style columns with chamfer abacus. It was at one time dedicated to Saint Tomas de Villanueva, and currently holds a lithograph, with golden frames representing our Lady of the Sacred Heart, donated in 1955 by the singer Arturo Gatica to fulfill the promise he made to the virgin when he was diagnosed with the loss of his voice.

There are other carved images in polychromatic wood and some made of plaster, located in different parts of the temple. The most important is an old polychromatic wood sculpture with the image of Saint Agustin; behind this image one can see the recuperation of one of the walls made in white stone sitting of the Saint Cristobal Hill, corresponding to the XVII century, after its restoration in 2004, it is a true relic of colonial construction.

On the other hand, there is the organ, entrusted in 1870 by the priest Father Eleuterio González to the outstanding Italian organ maker Angelo Morettini. The story says that Morettini took 18 months to build it with the help of his son Nicolas and it turned out to be such work of art, that it was exhibited to be admired, before starting its trip to Chile, in the Temple of the Holy Spirit of Perusa, giving great celebrity to the Morettini workshop.

It arrived to Santiago in November 1877 and it was an instrument with such sophisticated technology, that the Agustin priests had to ask for help to assembly it. Manuel Larraín took on the challenge and, finally the Morettini organ was inaugurated on April 24, 1878.
In 1920, the Argentinean organ maker Oreste Carlini was hired to remodel de Morettini organ.

Finally, there is a collection of textiles called “Chinese Ornaments”, although they are in the Sacristy, were brought to Chile by the priest Father Juan de Váscones in 1598. It was wrongly believed that the embroideries has Chinese, Confucius, and Buddhic motifs when in fact some of the textiles were intervened so that they could be useful for religious practice, but it has been studied and concluded that the embroideries represented bucolic and courtesan scenes.

Another textile that can be highlighted is the famous Terno Frutilla (Strawberry Suit), French origin design of the XVIII century, whose main decorative element is the strawberry, made of silk with gold threads, an excellent embroidered and colored artwork.