The unusual construction of the neo-classic organ of Santiago Matatlán was confusing. The windchest is positioned under the keyboard as in a table organ, but the case, roller board, and stop action are characteristic of a stationary instrument. A very tall channel board, not rectangular but rather in the shape of a roller board, connected the two systems. Our confusion was resolved by the discovery of an 18th- century Maltese cross painted on the first pallet of the windchest, indicating that it had been recycled from a previous 4´ table organ, presumably from the same church. The chest had been enlarged to accommodate another register at the back, logically with the installation of an 8´ rank to deepen the organ’s sound. However, since the space was not wide enough for the pipes of a stopped flute (bardón), commonly used to lower the tonal base, a tall, thin 8´ reed was installed; one of them still exists. A lovely new case was built to accommodate the heavier, taller components. It included two side towers with non-speaking pipes that visually balance the upper and lower sections. The unusual position of the register knobs at the juncture of the two was due to the reconstruction of the organ's interior. The case decoration combines baroque, segmented cornices with neo-classical fluted columns and lambrequin carvings on the façade, placing the renovated organ at the transition between the two eras, around 1800.