The templon modification aimed at its integration into the space as an integral structural element. Rather than serving as a barrier, preventing the view of the sanctuary, the templon frames, instead of sealing, the threshold of the sanctuary, reinforcing its liturgical purpose. Therefore, its modification is based on the unification of space (nave and sanctuary), rather than their separation, both on liturgical and aesthetic level. To this end, the colour structure of the chapel was developed as an extension of the central axes of the sanctuary and the color range of the fresco, located at its arch. Therefore, the material and volume of the templon should give the spatial illusion of the continuation of the masonry. This kind of structure is a solid masonry templon, like those of the early Christian period, which reflects Hellenistic elements of a temple. In the late Byzantine period, one can meet several templa of this kind in the wider area of St. Spyridon Chapel (Mani and Laconia). 

Aiming at the integration of the templon in its space, architecturally and geographically, its artistic modification was done in such a way as to give the impression of a masonry templon. As is the case with the marbling painting in frescoes, an extensive technique in Karoussos artwork, the lining of the templon surface, with colour layering, yielded an architectural reconstruction, unifying the space while providing the required aesthetic coherence.

A typical cross-shaped Byzantine motif was designed on the shields, in the same color range as the lining, creating the effect of relief. The motif functions as a semiotic element and is therefore simple, without containing rose, anthemia, and other decorations.

The four oil paintings of the templon depict the Virgin, Christ, St. John, and St. Spyridon, as required by the iconographic standard. The despotic icons created much later than the frescoes and dating back to Nazarene painting, function as the threshold of the temporal continuity of Byzantine art. The fusion of pre-revolutionary frescoes of the sanctuary, the Nazarene paintings, the 20th-century post-Byzantine painting, and its hybrid transfer, reflects the perpetual revival of Byzantine art.

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