Parts of the surrounding wall with lance-shaped portals also exist. The large prang itself is very well preserved. It features many sculpted details showing garudas attacking nagas. The two crypts in the lower part of the prang have some interesting murals. The painters were probably Chinese artists settled in Ayutthaya, who were able to incorporate a variety of styles such as those of the Khmer and Burmese as well as the Lopburi and Sukhothai styles to create an astonishingly harmonious result.

Archaeological excavations of the prang between 1956 and 1958 also turned up more than 100,000 votive tablets. They were sold and the money thus raised was used to fund the building of the Chao Sam Phraya Museum. Votive tablets like this, which were taken on pilgrimages, were mostly made by shaping clay in moulds.

They featured depictions of especially holy pilgrimage sites or simply pictures of Buddha. Further discoveries in the prang included wide bracelets encrusted with gems, a head-dress made with filigree gold as well as one solid gold head-dress adorned with precious stones, a five-piece crockery set for betel nuts, two spittoons and gold coins with Arabic inscriptions (most of these finds can be seen in the Chandra Kasem Museum).

The Wat Ratchaburana prang is in a mixture of the Sri Lankan and Burmese styles that meld to create a wholly new architectural style. Some of the upper section is been quite well preserved.

There was once a square platform with small chedis at every corner. Two more chedis at the crossroads contained the ashes of the two royal brothers, while a third commemorates Queen Si Suriyothai, who rode on an elephant into battle against the Burmese disguised as a man in 1550 and saved the life of her husband, only to perish herself.

Close to her chedi, next to the totally obliterated Wat Lokaya Sutha, there is a huge reclining Buddha.