The church of “Timios Stavros” (Holy Cross) is located at the south end of the village.

In its present form it appears as a «three-aisle» church with a dome and it is the result of three additions and various interferences that significantly changed its original form. The original church had a single aisle with a dome. From this original church only the apse was saved. Later on the church was ruined –the reason is not known –and it was reconstructed in the same style but with the west arch being elongated. This was probably done in the 13 th century or the beginning of the 14 th . The north chapel was added in the 14 th century, which did not have an apse and was joined with the original church at the end of the 15 th or the beginning of the 16 th century after a segment of the central, “blind” arch's spandrel in the north wall was removed and replaced by an arch. At that time parts of the west and east “blind” arches of the north wall were also removed so that the chapel would communicate with the church.

At the end of the 15 th or the beginning of the 16 th century another chapel was added to the south wing of the church with an apse in the east side, which was united with the original church just like the north chapel.

In more recent times the north wall of the north chapel along with the arch that covered it and the north part of the east wall collapsed, resulting in the destruction of the frescoes decorating the north wall and the arch. It is not known if it was at that time or later on that the apse of the south chapel were also destroyed, being replaced by a straight eastern wall. Today only the foundations of the apse are extant.

The apse of the original church, which was preserved incorporated into the 13 th century church, is decorated with frescoes. These frescoes were discovered after the removal of the more recent layer of frescoes, which came loose and were in danger of collapsing. As opposed to all other known examples, the “Deisi” (Prayer) is painted on the quadrant of the apse. Christ is depicted from the waist and up in a size larger than the natural. The Blesses Virgin Mary and John the Baptist are depicted to his right and to his left in a much smaller size and standing up. On the semicircular wall of the apse, which is perforated with a small, rectangular window, there are depictions of six prelates turned toward the center -where down below there an altar and a chalice are also depicted -three in the north of the Altar (Kyrillos, Nikolaos, Vasileios) and three in the south side (Chrysostomos, Epifanios, and Spyridon). A fresco of a Deacon was revealed in the north of the apse, perhaps that of Saint Stephan, a work of the same painter. On the contrary, the fresco found on the eastern wall in the south of the apse, depicting Saint Panteleimon, is the work of another painter –perhaps in the beginning of the 13 th century. The style of the frescoes in the apse is quite different from the other known frescoes in Cyprus. They are very schematized, linear and with a limited chromatic scale but with shiny colors, especially red and green, becoming a sort of a “prelude” for frescoes and icons of the 13 th century. Yet these frescoes, according to the extant “founder's inscription” at the center of the apse and above the window, were made in 1178 and they are associated with the frescoes of Cappadocia, the “Deisi” in the quadrant of the apse being quite common there.

The Church of the Holy Cross was repainted entirely in the 14 th century. Two painters from the same workshop along with their apprentices worked in the church. These painters observe different models. The first seems more capable than the second. The works of the first painter are the “Almighty” in the dome, the evangelists in the spherical triangles, the “Descend to Hades” in the upper part of the central, “blind” arch's spandrel in the north wall, the “Annunciation” with only the Angel being saved from it, the “Akra Tapeinosi” in the niche of the offertory, the “Ascension” and the “Pentecost” in the eastern arch, and the three scenes above the apse's facade. Jesus sends his disciples to preach. “Mi Mou Aptou” and the myrrh-bearers in front of the Empty Tomb. These frescoes are deeply influenced by the painting of the “Palaiologoi” era. They stand out for their bright colors, the good drawing, the obvious effort for the reproduction of volume, and a tendency to idealize the figures. The works of this painter's apprentices are the zone with the angels, the “Preparation of the Throne” that surrounds the “Almighty” in the dome, the prophets amongst the dome's four windows and further below, beneath the eastern window of the dome, the Holy Veronica and the “Agio Keramidio” under the west one. The colors of these frescoes are less bright and the figures –especially of the prophets –are more linear with strong shoulders and relatively large heads.

The other painter has done the rest of the frescoes in the western arch, the west wall, the north wall, the apse, and the south wall

There are thirteen scenes from the life of the Virgin Mary painted in the west arch and another two on the west wall. This makes it the most elaborate “life cycle” of the Virgin Mary extant in Cyprus. The west arch is separated into four zones: two in the south half and two in the north half. The cycle begins with the east end of the upper zone in the south half of the arch, continues in the lower zone and then advances in the west end of the upper zone in the north half, moves on in the lower zone and then it ends in the upper zone of the west wall, under the “Palaios ton Imeron” fresco. The following scenes are included in the cycle: the “offering of the gifts” from Joachim and Anna, the “Rejection” of the gifts, “Anna's Prayer”, “Joachim's Prayer”, the “embrace of Joachim and Anna” (that is, the Conception of the Virgin Mary), the “Birth of the Virgin Mary”, “Young Mary Receiving the Blessing of the Priests”, “the Presentation of the Virgin Mary”, the “Priests' Prayer”, “the Delivery of the Virgin Mary to the hands of Joseph (Betrothal of Mary)”, “Joseph conversing with the Virgin Mary”, the “Annunciation of Mary by the Well” and the “Annunciation in the House”, the “Embrace of the Virgin Mary with Elisabeth”, “Joseph Admonishes the Virgin Mary”, and the “Water of Verification” –otherwise known as “Agneias Peira” (The Purity Check).

The frescoes covering the spandrel of the central “blind” arch in the south wall, which referred to the “Birth of Christ”, the “Baptism”, the “Transfiguration”, and the “Palm-bearer” were ruined. Beneath the life-cycle of the Virgin Mary in the south wall there are depictions of the “Last Supper” and the “Healing of the Cripple”, while in the spandrel of the western “blind” arch in the south wall there is the “Betrayal”. On the north side of this arch's eastern pilaster there's an illustration of Apostle Paul, in the plancher (intrados) of the arch David and Solomon, and Saint Paraskevi in the eastern side of the arch's western foot. On the west wall and under the last two scenes of the Virgin Mary's cycle, there's a portrayal of the Crucifixion and south of the west entrance there's Saint Constantine and Saint Helen, an unknown female Saint found in the north. Above the entrance there is the cut “founder's inscription” that refers to the church's decoration with frescoes. On the north wall and under the scenes of the Virgin Mary's cycle, there are portrayals of “Jesus, the Samaritan woman, and the Wash-basin”. Another four scenes follow at the spandrel of the central arch in the north wall: “Jesus before Pilate”, the “Empaigmos” (sneering), the “Elkomenos”, and “Jesus before Hannas”.

Further east, above the “blind” arch of the northern wall there's a depiction of Christ's “Deposition from the Cross” and across -on the south wall –a depiction of the “Burial” right under the “Pentecost”. The same painter also did the “Assumption of the Virgin Mary” on the spandrel of the west blind-arch at the north wall and the Saints Onoufrios and Anthony at the foot of the arch. Beneath the “Virgin Mary's Assumption” he painted the portraits of Vasilios and of Simeon the “Stylite” and the Saints Chariton and Ioannis (Johannes) “Klimakos” at the plancher of the arch that joins the church with the north chapel. At the south side of this arch's eastern foot he painted Apostle Peter and at the central “blind” arch, beneath the “Elkomenos” scene, the portrait of Negkomia. At the quadrant of the apse he painted the Virgin Mary in the midst of the Archangels and further below, at the semicircular wall, the Prelates Trifyllios, Spyridon, Gregory the Theologian, Chrysostomos, Vasileios, Epifanios, Nikolaos, and another one that is ruined. At the north of the apse he painted Stephan.

The colors that this painter uses are less bright. His style is similar with that of the painter who decorated the central part of the Church of Asinou in the 14 th century and that of the painter who did the Narthex of Asinou in 1332-33.

In the 16 th century another painter did the portraits of a couple who were donators on the north wall close to the icon screen, while another painter painted Saint John the Theologian on the north wall also close to the icon screen later on.

Today, out of the painted decor of the north chapel there are some frescoes extant at the lower part of the east wall (the Saints Vasileios, John Chrysostomos, and Gregory the Theologian) and at the south wall an unrecognizable Saint, the “Thomas Feeling the Wounds” and “the Four Evangelists”. The portrait of a donator is painted down below, at the west edge of the south wall. A pair of donators, obviously belonging to the Frank class, is painted in the scene of “Thomas Feeling the Wounds”. Above the central arch that joins the chapel with the Church of the Cross there is a painted coat of arms. The “Root of Jesse” is painted on the west wall. All the extant frescoes in the chapel are the work of the same painter who is deeply influenced by the painting style of the “Paleologoi” era but is not left untouched by modern Italian painting either. The “Root of Jesse” fresco stylistically resembles the same fresco found at the west wall of the “Akathistos Hymn” chapel in the monastery of Saint John “Lampadistis” in Kalopanagiotis. The frescoes of the north chapel can be dated back to the 15 th century.

The frescoes decorating the plancher of the central arch that joins the chapel with the Church of the Cross got ruined in a fire and so dating them is impossible.

On the west wall of the south chapel a fresco of Saint George, bearing scenes of his martyrdom, has been salvaged and can be dated back to the 16 th century.