The building has four floors with an internal disposition in Greek cross form: the cellar (in mudéjar style), ground floor, main floor - where it is the impressive chapel (with a triple apse with windows, flying buttresses, gargoyles outside and the interior adorned with stained-glass windows, paintings and religious objects that reinforce the magnificence of the ensemble), the room of the throne, the office of the bishop, the dining room, all it organized around the central piece or lobby - and the last floor or attic. Outside, the porch with its three splayed arcs - that created serious problems during their construction, it were to be reconstructed three times - constitute one of the most spectacular architectonic elements of Gaudí.
In words of Cèsar Martinell, they are together with the inclined columns "the best advance of the stone architecture from the pointed time to the present time". In the interior, the granite, the mosaic, the pillars and the columns are mixed in a spectacular way allowing, as Carlos Flowers said, an organization practices with a continuous and flowed space "like in which the diverse parts are followed one another and chaining without ruptures nor definitive divisions" besides to adapt with rigor to the symbolic spirit of the palace.
The illumination is another one of the remarkable aspects, specially in the main plant that is equipped with a majestic luminosity that simultaneously creates a gathered atmosphere. Lamentably, the last floor (attic) was not constructed according to the drawings of Gaudí, but with those of García Guereta in which these spaces lose brightness and originality aside with light. These changes did not affect solely the interior, but also the exterior that was finished with much more conventional tile roofs, which did not allow to place the great figures of angels whom Gaudí had anticipated and who at the moment are exposed in the garden of the palace.