Pierre Montet describing the temple of Baalat Gebal made the distinction between the two parts of the temple. The first part  the so-called Egyptian temple called, also called the temple of the colossi, and the so-called Phoenician temple. The alignments of the facades of the two parts of the temple are strictly perpendicular. The large door of the Baalat Gebal temple as on the Macrin's coinage of Byblos is to be placed on the north face of the temple the colossi perpendicular to the alignment of the Roman Collonade. When one enters the building from the east and walks through it, one emerges into the great courtyard between the two temples and in front of him he finds the altar, as perhaps what Benjamin of Tuleda saw in his account of his trip to Syria. The convoy that passes through this entrance moving  from east to west would be that of the  king and the priests, not of the crowd of the faithful, those had only access to the large courtyard through the door on the north side. The Corinthian colonnade  which is on top of  the necropolis is parallel to the line of the colossi and therefore perpendicular to the north side of the temple. The axis which passes between the two columns of the north face door and through the Egyptian temple into the courtyard is parallel to the line of the Roman Colonnade . We put in one group, the colossi,  the various constructions stretching behind them, the basin in front and the stone block in the extension of the roman colonnade. And in a second group, the two column bases of the north face entrance door. the pavements with steps and the square pedestal, and finally the door of the ureus. All these elements of the second group are approximately in the same horizontal plane and are built on the same axis parallel to the line ind Roman Colonnade and parallel to the face of the collosi, all those mentioned are part of the Egyptian temple. The second group remained in use until Roman times. The vast paved esplanade was originally supposed to connect the two sanctuaries the Egyptian Temple and the Phoenician Temple. This pavement is a very precise chronological demarcation between the Old and Middle Kingdoms of Egypt.

The most important temple in Byblos is the temple of Baalat-Gebal (3000 b.c) or the Lady of Byblos. The Goddess Baalat-Gebal with the sun disc on the head was represented on cylindrical seals found in Byblos and in Egypt. Fragments of alabaster jars with hieroglyphic inscription from the Pharaohs of Egypt were found in the excavation of the temple. Also objects related to this period were found in the temple and its vicinity, buried in sealed jars sometimes. Such of these objects are gold bead, birds figurines, small apes statuettes, inscriptions from the pharaohs of the second dynasty and others dynasties, jewelries, bronze artifacts and bronze scissor, human and animal figures, painted pottery. The buried sealed jars, called " Montet jars", upon the french archaeologist Pierre Montet, contained seals amulets, scarabs, cylindrical seals, pendants, bronze ornaments, over forty bronze and silver and other objects. Found were thirty six inscription bearing the named of the Paraohs of the sixth dynasty to honor Baalat-Gebal.

An Inscription found written with ink telling of the works undertook by King Yehawmelek of Byblos consisting of a ledger of a Phoenician temple explisiting the expenditures to builders, decorators, and wages paid to officers of the temple.

On an inscription of the 5th century b.c in phoenician, L is for divinity designating a single divinity, LM is followed by Astrate  in the form BBT LM STRT rabbat in the house of the goddess L Astrate. We find also the syntax RBT GBL Lady of Byblos.

An inscription on a scarab dedicated to the goddess Astrate the Lady of Goubal or Gebal (meaning Byblos) mentions the granted favor of the goddess to her people. 

Since the ancient empire the Egyptian Goddess Hathor has been identified with the goddess of Byblos. This assimilation will be less clear in the eleventh century. Isis will succeed Hathor in the Egyptian version of the Lady of Byblos. Astrate was associated with the idea of good.

Presence of an orientation pattern in temples dedicated to Astarte in Phoenician territories. The temple of Baalat Gebal follow a sun-rising or moon-rising orientation. One of eventual explanation of these orientations is that Venus shows always on the west and guide them in their journey in the sea. Astarte was the Phoenician goddess of nature, life and fertility. She had the title of Queen of the Heavens. Most of these temples have a long axis indicated by the entrance, show an east-west pattern, facing the east and back to the west. The temple Baalat-Gebal in Byblos has axe east-west from the main entrance to the east and a back entrance to the west or the sea.

The ruins of the Phoenician temple of Baalat Gebal in Byblos were unveiled over a length of 45 meters in the direction NS-NW and on an average width of 10 to 15 meters. This part of the ruins is located exactly south about 50 meters from the Crusader Castle on the south-east and less than 100 meters from the current shoreline of the sea. The masonry of the temple is of scarcely trimmed blocks with no bed-drawing. 

The coin of the Emperor Macrin represents the temple of Baalat-Gebal . This is the only graphic representation we have of this temple. The temple is shown here as made of two distinct parts leaning against each other. The entrance, opens on one of the short sides. The great forecourt, which comes after the entrance, occupies the whole interior of the enclosure. The representation shows one of its walls built in blocks with large slit bosses. The whole stands on a platform. A stairway finally occupies the entire width of the facade.

The forecourt ,the largest open space we see today is witnessed on three sides: East, North and West. Then we see the main square. The location of place of worship, since all religious material were discovered there, indicate that it was in the middle of the square.

The temples had festivals corresponding to the changes of the seasons. They worshiped the energy shown by nature in destroying and reproducing life. It was a place for festivities. For instance dancing and singing formed one of the chief characteristics of worship. The air was full of perfume, and sounds of falling water and music.

The Royal palace in Byblos is formed by an East Wing,  a West Wing and a North Wing. Many few similarities has been found between the Royal Palace in Byblos and that of Mari and Kish. The Palace is located on the top of the upper hill of the Acropolis behind the temple of Baalat Gebal and dates at least to the Early Bronze III. The West Wing is a block of rooms with two long rooms and other smaller rooms. The West wing  and the North wing might have served for the sovereign family and the dignitaries as well as for service functions, storage and production. Entrances were opened towards the south and west for the West wing and towards the west and south for the North Wing and were used for the entrance of the public. The East Wing was the Royal Wing reserved for the King and his businesses and was carved deep down into the bedrock. The main entrance to the North wing is through a wide vestibule towards the temple of Baalat Gebal which this temple served as well for the buisiness meetings of the King, noting that the temple has a back entrance towards the palace. At the very heart of the imposing building was the monumental throne room or the central nucleus of the Palace flanked by a set of three irregular rooms according to the Levantine tradition. These rooms may have had service or storage functions. The Throne room is where the King kept his transactions and buisiness records. The Palace is located near the edge of the promontory of Byblos where there might have been stairs leading to shore and the main port of Byblos offshore from the sandy beach. 

 A strong parallelism has be made between Elba and Byblos in Early Bronze II around 2900 BCE. It was proposed that the townof Byblos  is divided into seven quarters by main streets at a short distance from the Baalat Temple between the temple of Baalat and the the temple in "L".  A general pattern for which a round shape was proposed not only in the general pattern but also in the organisation of the settlement texture with concentric streets cut more or less in perpendicular by other streets leading towards the centre of the site.

Another point seems to relate the Eblaic and Byblian (Byblos) ideas of town planning during the late Early Bronze Age. It was  proposed that the Royal Palace was located in the lower town and the main temple stood most probably alone on top of the Acropolis.  In the lower town there would be one second cult place dedicated to the same deity probably a male deity associated with the kingship that could be the temple in "L" dedicated to a male diety Baal.

Phoenician art in Byblos is a perpetual mixture of Egyptian and Assyrian. It was from Egypt that by far the most was borrowed. The Assyrians appeared later on the scene. It was Egypt that set the fashions. The life of Phoenician art into three phases, into three successive movements depending on three successive eras. It was towards the first millennium that the style of Egypt recovered its vogue. From the end of the sixth to the end of the fifth century, Phoenician modelers were to imitate the types from Greece and in the Doric and Ionian cities of Asia Minor. Phoenician art was never content to draw its inspiration from a single source. Mixture of Egyptian and Asiatic elements. Phoenician art had a third epoch, an epoch full of originality and creation. For seven or eight centuries the Phoenicians had a monopoly in the manufacture of vessels in copper, bronze, silver and gold, which, were partly engraved and partly beaten out. In the Phoenician industry the most authentic are the works in metal. The artist made very good use of the Assyrian models. Bronzes from the very birth of metallurgy is of Phoenician origin. Bronze was more ductile and is more easily ornamented.  

Phoenician designers used extensively animals mainly that of the Hon and the lion. Other animals, play but a small part. Phoenicia made portraits of animals more than of men. They used griffins and sphinxes a lot. Phoenician artists often represented their deities on thrones. They are distinguished with making seated figures. They used a lot hieroglyphs for the decoration. Hieroglyphs with meanings are rare on Phoenician monuments. Symbols are composed together without any signification. It is hard to bring like order into the long list for the objects they did. The Phoenician workman had pattern-books from which these designs were taken, and every object was accustomed to the client taste. No two artifacts would be similar. The objects are beaten out and chiseled, and then finished with the burin. The staples used for the assembly were clipped. They used extensively geometrical designs for the decoration. The decoration can be a combinations of straight and curved lines. Designs were in good proportions     

 Mycenaen Crete influence from the fifteenth to the eleventh century was artistic. The far more extensive influence of the Mycenaean civilisation on Phoenician Pottery in Byblos covers several hundred years. The forms of pottery are grouped in some half-dozen main types : dishes, plates, bowls, lamps, small amphorae with one or two handles, jugs with globular bodies, large amphorae with vertical side-handles, globular bottle with long neck with or without handles, two-handled globular amphorae. The commonest variety is the reddish clay ware, sometimes plain, or  painted with geometric figures in red, blue black and or white. The commonest patterns are zigzags, wavy lines, straight lines, chequers and lozenges, network patterns, and concentric circles. The influence of the Mycenaen style called the sub-Mycenaen style stayed till the pottery Graeco-Phoenician period (about 700 to 300 B.C).