The upper corners in between the arches of the square units are filled with corbelled brick pendentive to make up the phase of transition for the domes.

At the northwest corner of the mosque there is a royal gallery forming an upper floor, which is still standing in a dilapidated condition.

Stone carving, brick-setting, terracotta, gilding, and glazed tiles were used in decorating the building, and of them the former played the dominant role.

The subject matters of the stone carving were chosen according to the demand of the spaces, e.g., the borders of the panels with creepers and their interior with various forms of stylised hanging patterns adapted from the chain-and-bell of the Bauddha and Jaina period.

The mosaic design is not in situ, but a roundel has been composed by the excavators, putting the flakes in their appropriate places and exhibiting it in a room attached to the guesthouse nearby.

At a distance of 14.5 m to the east of the gateway, there is a stone platform containing two tomb sarcophagi inscribed with verses from the Quran and some names of God.

The glamour of the Chhoto Sona Masjid is not there as it was originally, particularly because of the stripping of the decorative mihrabs and the mosque courtyard, but the remains are nevertheless one of the most attractive monuments of Guar-Lakhnauti.