The façade is in Renaissance style; the gate, sometimes attributed to Jean Bullant, consists of a tympanum leading to columns grooved in Corinthian capitals, the whole surrounded by a very decorated classic entablature, surmounted in the extremities by two roof lanterns.
by Robert Trollope of Newcastle, is a provincial essay in Baroque, of local stone with a giant pilasters on high bases supporting sections of entablature dividing the main front into a wide central bay and flanking bays, under a sloping roof with vernacular flat-footed dormers.
The frieze in the entablature depicted the myth of Arachne and other reliefs depicting representations of the personifications of Roman provinces.
Inscribed in gold lettering on the entablature of the front portico are the words: HERRENS ORD BLIVER EVINDELIG (Danish: "the word of the Lord endureth for ever." – 1 Peter 1:25, KJV).
A barrel vault, faced with Guastavino tiles, rises from the entablature and is decorated with broad ribs which extend from the columns.
The Grand Théâtre de Bordeaux was conceived as a temple of the Arts and Light, with a neo-classical facade endowed with a portico of 12 Corinthian style colossal columns which support an entablature on which stand 12 statues that represent the nine Muses and three goddesses (Juno, Venus and Minerva).
The entablature depicts allegories of the main rivers of the region, the Po, Ticino, Adige and Tagliamento, sculpted by Pompeo Marchesi.