stands. Its high-arched opening is crowned with a large, silver corona imperial (imperial crown). Below the hornacina is a semicircular gilded platform, which is said to be a part of the galleon that brought the image from Valencia all the way to Manila, the Santo Cristo de Burgos. Wooden steps flank the platform, and are used by devotees to climb and venerate the image. At present, only the Virgin's long cape can be touched or kissed. Of note in this structure are the paintings on the ceiling and on the entrance, which are believed to be as old as the Camarín and the church itself. These paintings belonged to the short-lived Estampita Age of Filipino-Spanish art. The entrance paintings depict life-size images of the archangels Saint Michael and Saint Gabriel guarding the door, also painted with a heavenly scene surrounding the Auspice Maria, a monogram of the letters "A" and "M" representing the term "Under the guidance of Mary" and has the popular meanings of Ave Maria as well as the Holy Name of Mary. The ceiling paintings show Heaven in the center surrounded by eleven segments, with scenes from the lives of Mary and Jesus, from Mary's Betrothal to Saint Joseph to the Baptism of Christ. The central panel shows the Holy Trinity and the kneeling Virgin Mary, with cherubim and angels on both sides. Due to the considerably good preservation of the structure as well as the irreplaceable value of its paintings, which were considered the oldest datable of its kind, the Camarín de la Virgen was declared a National Cultural Treasure in November 2008 by the National Museum of the Philippines. Pozo de la Virgen Located behind the Santa Ana Church is the Capillita de la Virgen del Pozo (Small Chapel of the Virgin of the Well). Better known as the Pozo de la Virgen (Well of the Virgin), it housed a holy well of springwater believed to contain healing properties. The exact date of its construction is unknown, although it was generally assumed to have been built around the 18th century, around the same period as the church. The Pozo de la Virgen also enshrines an 18th-century wood and ivory relieve image of Our Lady of the Abandoned, placed in a low niche in a position suggesting her guarding the holy well. A wooden trapdoor, which occupies most of the floorspace, opens to reveal the passage