The church is now used as a mosque. An inscription carved into the lintel over the West doorway attests that the church was built in 1894 by 'A. Pieris – Mastoras' (i.e., Master Craftsman). The church is located in the centre of the nucleated village, on the main crossroads and set in the centre of a narrow cemented yard and consists of one nave divided into 4 bays. The SE bell tower, built into the buttress of the building (probably built at the same time as the church) is in a visual axis with the north road. Each bay is separated by an ornate pointed arch with ribbed shafts (each springer terminating in a different floral ancone), while the roof over each bay is cross-vaulted. A semicircular apse (on the interior) is defined as half of a hexagonally segmented semi-circle on the exterior. The west narthex has been closed off. The south doorway has been built up in brick and a semi-circular half-domed mihrab has been erected in its place. The mihrab is framed in ornate neo-classical appliqué-work depicting column pilasters and capitals, in plaster of Paris, on the interior. The ‘gynaikonitis’, with its semi-circular obtuse balcony is supported on metal beams and decorative wrought iron ancones in floral motifs. The north doorway has become the main entry into the temple. It appears to have been inspired by the work on the Gothic church of St. Nicholas (Bedesten) in Nicosia. It is a portal niche decorated with a clustered row of receding pilasters crowned with a similar row of receding pointed arches, each arch-band decorated with a different extrueded carved floral motif. The tympanum is decorated in trefoil and quatrefoil motifs. The tympanum of the doorway is framed by a 2-pitched cornice which terminated in a finial (missing). The general detail work appears to have been inspired by Lusignan Gothic architecture although it is executed in a very free interpretation concerning the decorative features – ancones, bosses, finials, cornice coursework etc. The overall design is eclectic, with profuse floral decoration and some sort of mystic numerical symbolisms appear to pervade the clusters of pomegranates. The exterior finish of the main body of the church appears rather cumbersome; with applied decoration on the main doorways, but the arched and cross-vaulted interior is lofty and well proportioned, masterfully lit by the light streaming in through the clerestories.