Temple

The general layout of the iconostasis remains almost always the same, with some additions and subtractions as appropriate. This layout is given in the following drawing;

On the floor is the base. The columns start from the base. Between the columns, low down, in place of the breastworks of the marble iconostasis, are placed the aprons, sometimes wood-carved, sometimes painted. A narrow wood-carved portion, the stafyli, follows, and above it a rectangular panel, the lower ketambas. Next are the despotic icons, which are crowned by the upper ketambas. Up to this height, in the center opens the beautiful Gate, which culminates with the holy Cup. On the left is the door of the Prothesis and on the right that of the deacon. This is followed by a series of arched crowns, the kemeria, with round-shaped protruding doves, from which the lamps hang. The upper zones are not interrupted by doors; In the first zone the root of Jesse is represented, in the second the vine, and then the series of icons of the Twelve, which are often more than twelve. Next are the Apostles, icons with busts of Apostles. The iconostasis ends in a low pedimented crown, the branch, at the top of which rises the cross with the Crucified One painted, framed by two hexapods with also painted representations of John and the Virgin Mary.

Of particular interest are the iconostasis of the Vatopedi Monastery, which belong to the Neo-Greek Baroque era (from approximately the middle of the 18th to approximately the middle of the 19th century). Three iconostasis from this era are preserved in their original place;

of the Catholic Church, year 1788

of the Chapel of Saint Andrew, last decade of the 18th century

of the Chapel of the Holy Belt, second decade of the 19th century

Certain changes are observed in the structure, technique and style. The relief becomes particularly elaborate and the zones increase, which, due to their perforated technique, resemble lace. The subject matter is enriched and combined in various ways, while an attempt is made to render it more naturalistically. The entire surface of the background is gilded. The columns acquire second and third capitals and the epistyle is transformed into a heavy cornice. The iconostasis becomes an impenetrable barrier between the main church and the sanctuary, rising to the top of the walls and leaning forward.