The church of Panagia Hodegetria or Aphentiko

catholicon: the main church of a monastery. As a rule it was the most imposing one, located in the center of the courtyard
chrysobull: official public document or decree issued by the emperors of Byzantium, with an authenticating gold stamp on the silk band that accompanied it.
chapel: small sized church, either independent, belonging to a religious foundation, or part of a larger church. In Byzantium chapels were often used for burials.
cross-in-square church: type of church where the central dome is supported by four arches covering the extremities of an equilateral cross. Lateral compartments, covered with small domes or barrel vaults, are formed at the four corners of the cross and thus the church forms a cross inscribed in a square or rectangular area. Externally the sign of the cross is also prominent because of this unique way of covering the roof.
narthex: oblong reception area extending along the western side of a basilica. Originally the east portico of the atrium, it was later incorporated into the church, and served as a waiting area for catechumens, who were not allowed to attend the Divine Liturgy.
gallery or tribune: upper story of a church above the side naves and the narthex.
basilica: type of large church, divided internally into three or more naves. The central nave was usually covered by a raised roof with windows that illuminated the space.
colonnade: sequence of columns placed in and around buildings.
pastophoria: the two rectangular or square chambers situated on either side of the apse in early Christian basilicas. Derived from the word pastas = “matrimonial bed”, referring to the mystical union of the faithful with Christ. The northern chamber is called the Prothesis and was used for the preparation of the Holy Gifts, while the Diakonicon on the south side was used as a sacristy.
porch: portico formed at the front part of a building, consisting of a colonnade which supported the extension of the roof protecting the entrance.
dome: hemispherical vault resting on a cylindrical or polygonal drum. Widely used in Christian church architecture.
cloisonne masonry: elaborate church masonry style, in which rectangular stones are framed by one or two plinths (bricks) laid horizontally and vertically in single or double rows within the mortar of joints.
cornice: architectural feature separating the upper and lower sections of church walls, both inside and out. A thin, projecting band, usually semicircular in cross section.
triple-light window: window with three openings that form an arc at the top.
marble revetment: facings of colored marble slabs that covered walls from the floor to the starting point of arches.
wall paintings or murals: Painted scenes on a wall or ceiling surface.
Christological cycle: scenes in the iconographic program of a church that depict the life of Christ, from the Annunciation to the Ascension.
conch (Sanctuary niche): Niche in the eastern end of a basilica. Semicircular on the inside, with a horseshoe shaped, rectangular or polygonal exterior.
mandorla: bright circular or oval shape surrounding certain depictions of Christ as a symbol of divine nature. It can also resemble a star or consist of double rhombuses. A double oval and diamond shaped mandorla denotes the presence of the Holy Trinity.

The church of the Virgin Mary Pantanassa: The Monastery of Pantanassa, which dominates the eastern edge of the fortified enclosure, was the last church building project in the city. It was founded in 1428 by the second in command of the Despotate, protostrator John Frangopoulos, as revealed by the dedicatory verse inscription in the western dome of the gallery and monograms in various parts of the church. The walled area extended eastward from the median wall between the Lower and the Upper City of Mystras. At the lowest, most prominent point, the Byzantine dignitary funded the construction of a so-called “Mystras type” church, combining a three nave basilica on the ground floor with a cross-in-square church on the upper floor. The two-storey building is surrounded by a tall, slender bell tower and two porticos arranged in an L-shape, though the western one has not survived. At the same time, numerous decorative elements are tastefully combined on the building’s faces. The variety of decoration is most apparent on the east side and the four-storey bell tower. The monument shows strong western influence and confirms the eclectic character of 15th century architecture in Mystras. On the inside, apart from the reused sculptures and the 17th-18th century frescoes on the ground floor, the galleries and the upper building are covered in excellent 15th century paintings, which echo those in Hodegetria (Aphentiko) and Peribleptos. As a whole, they are among the most important creations in the last phase of Palaeologan painting. One of the narthex vaults has a funerary portrait of the Byzantine ruler Manuel Lascares Chatzikes, who an inscription records as passing away in 1445. On his head he is wearing a hat similar to that worn by Emperor John VIII Palaeologus.
The church of Agios Demetrios: The cathedral of St. Demetriοs is located in the northeastern section of the Lower Town in Mystras, next to parts of the external fortifications. It is the oldest church in Mystras, serving as the city’s cathedral and the seat of the Bishop of Lacedaemon from the time it was rebuilt. Tradition has it that in 1449 it hosted the coronation of the last Byzantine emperor, Constantine XI Palaeologus, then Despot of Mystras.The church was probably built between 1263 (;) and 1272 by Bishop Eugene, who is depicted on the frescoes in the diakonikon, and in its original form was a three-aisled basilica. Between 1286 and 1315 a narthex and a gallery were probably added to the west. Nicephorus Moschopoulos was bishop at the time (1291/2-1311/2), as evidenced by three surviving inscriptions which mention him and his brother Aaron. In the 15th century Bishop Matthew added a tribune, in an attempt to adapt the church’s plan to that of Aphentiko. The church owes its typological peculiarity to this drastic intervention, combining a basilica on the ground floor with a composite four-column cross-in-square church above. However, Matthew‘s extension created a heavy building of clumsy proportions, which the subsequent addition of galleries and a bell tower failed to improve. Worse still, it led to the partial destruction of the fine wall paintings in the original basilica, decapitating figures in the Christological cycle in the central nave. The surviving sections manifest diversity in performance and stylistic features, indicating that they were completed in stages.The first phase (1272-1288) included the frescoes in the half-dome of the sanctuary apse, showing the Virgin Mary and a (deliberately destroyed) prelate at prayer, as well as most of the frescos in the prothesis, in the north aisle dedicated to Saint Demetrios, in the diaconicon and in the greater part of the south aisle, which is dedicated to the Unmercenary Saints. The diaconicon has a noteworthy depiction of the Preparation of the Throne and Christ with angels, above the figure of an All-Merciful Christ, which reveal the high theological and artistic standards of the time. The second phase (1291/2-1315) is associated with the work of Nicephorus, and inclues the decapitated figures in the Christological cycle in the nave, the figures in the western section of the south aisle, and an impressive Second Coming alongside Ecumenical Councils in the narthex. The burial representations of four Bishops on the outer north wall of the church probably derive from the time of Matthew.The surviving sculptural decorations largely consist of reused material. The most outstanding of these are the sculpted frames around icon stands on the sanctuary pillars, which date to the late 12th century and belong to the set of frieze fragments in Agia Sophia and the Museum of Mystra. On the other hand, the beveled moulding with floral motifs and monogrammed medals dates to the time of Bishop Matthew.