The apse of the sanctuary is dominated by the upright figure of the <<Virgin Vrephocratousa>>. Eleven scenes from the martyrdom of St. Demetrios are depicted in the middle section (towards the sanctuary) of the vault of the north nave. The Miracles of Christ are represented on the rest of the vault. Three zones of paintings cover the entire wall space of this nave in the following order(top to bottom): saints within medallions; pairs of martyrs; full length military saints.
On the opposite nave, in the vaulted section within the sanctuary which contains the Diaconicon, there is a grandiose composition depicting angels preparing the throne of Christ of the <<Second Coming>>. In the remaining section of the nave scenes from the life of Christ and the Virgin extend as far as the bishop's wooden throne. Between this point and the narthex the vault is covered with a composition depicting the miracles of Christ which, in accordance with Byzantine tradition, follow one another chronologically, although represented in a single composition, as though depicting events that were occurring simultaneously and not successively.
Between the sanctuary and narthex full-length figures, probably representing the Apostles: are reanged at a much lower level along the wall of the same nave.
The walls the narthex are decorated with a depiction of the << Second Coming>>. Here all the walls and vaults are covered with representations related to this grandiose composition, at the center of which is the Preparation of the Throne which extends across half the vault, above the wooden entrance door.
Angels with red wings stand around the throne; below them, on the arches which frame the opening of the door, two angels awaiting the arrival of Christ hold open Books of Judgement.
The iconographic decoration of the Metropolis- the earliest monument in Mystra and especially rich in inscriptions- must have been executed between 1270 and 1285 and possesses little homogeneity of style. The variety furnished by different schools of painting nevertheless gives this church a special place in the history of Byzantine art, the painted decoration providing a kind of synopsis of earlier styles which foreshadow some of the best work of the Palaeologus renaissance.
The decoration of the church is completed by the sculptures on the columns and <<iconostatis>> which consist of reused materials removed from elsewhere and consequently do not present any uniformity of style or epoch. The Double-Headed Eagle, the heraldic device of the Paleologus dynasty, is depicted in relief on a plaque on the pavement in center of the church. Polychrome marble fragments of the early pavement survive here and there. The subject-matter of the incised inscriptions on the columns consists of an inventory of the church's various buildings and dependencies. Fragmentary frescoes of prelates are visible on the exterior walls of the colonnaded court which recalls the architecture of the Renaissance. The Marmara sarcophagus is placed on the south side of the court. Immediately opposite is the Museum, the ground floor of which possesses a large collection of inscriptions, bas-reliefs, columnettes and capitals removed from various churches and mansions. Fragments of frescoes from ruined chapels, portative icons, jewelry, coins and a piece of Byzantine cloth found in the course of excavation are displayed in the second hall. The court, including its colonnades and the group of outhouses which now form the Museum, were built by the Metropolitan Bishop Ananias, who was executed outside the buildings by the Turks. The relevant inscription embedded in the wall of the second storey balcony of the Museum runs as follows:
<< The chambers and gates here are not ancient
But built by Bishop Ananias
Who has renewed them from their Bases, at a cost
Paid from Dimitsana 1754>>

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