The strong Muslim influence is noticeable on the tower exterior, which boasts protruding brick and ceramic decorative motifs. Pointed horseshoe arches, cross shapes and ceramic discs are some of the ornamental features that were widely used in Aragonese Mudejar art.

The lower part of the first section has apertures to allow light into the stairway. This light was subsequently blocked when the tower was attached to the church at a later date. The openings were built at the level where the stairs provide access to the rooms in the inner tower, with an ogee arch of oriental influence in the south wall while the west wall features a surbased arch with voussoirs that are split at the center and thick perpends between those near the impost molding.

At the top of this first section of the tower, there is a series of decorative horizontal friezes forming large panels filled with seven blind pointed horseshoe arches resting on cylindrical honey-colored and green shafts with ceramic discs of the same colors and stamped fleurs-de-lis within the spandrels of the arches; a frieze of five cross shapes inscribed within a square to form a fishbone pattern; and a frieze of angled bricks adorning discs, as well as friezes of intertwined pointed arches resting on brick pilasters, flanked by ceramic shafts.

It was agreed that the new clock should have features similar to the old one, with bells ringing every quarter hour and on the hour; the larger bell was reused, but the smaller one, which had been changed in 1801, was replaced. Francisco Echecoín was commissioned to build it and the contract contained a warranty period and a person tasked with maintenance during this period. In 1855, the job was given to Pedro Ibarreta, primary school teacher, who was also in charge of the upkeep of another clock that had been installed in the Capuchin convent. In exchange, he received a sum of 200 reals per year, and he and his son Vicente were exempt from military enlistment obligations.

On all the other sides of this level there are double round-arched openings with a blind oculus in the parapet. The protruding brick decorative work includes strips of angled brick in which a sawtooth pattern alternates with a staggered pattern. A strip of this latter type, in addition to a dentil molding, mark the transition to the upper level.

The upper level of this second section is divided vertically into three parts by means of impost moldings that reach halfway up the side of the openings and the springing line of the arches. The decorative work on this section is also made of protruding brick featuring recessed crisscrossing patterns at the bottom, which are combined with narrow strips of staggered angled bricks in the center and two strips of staggered angled bricks in the upper part; the first of these strips combines two rows of double sawtooth patterns with three rows of staggered patterns in the center, while the upper strip has a staggered pattern. The cornice at the top of this section is decorated with a strip of staggered angled brick work and a line of inverted pyramid-shaped corbels.

In addition, there are turrets with a square base and circular top on all four corners of the tower. In the center of each side of the drum there is a small oculus.

The spire is an 18th century addition that replaced the original spire covered in green tiles with the slate shingles seen today.