Orthodox Church Architecture, Icons and the Iconostasis

Orthodox Church Architecture, Icons and the Iconostasis

Walk into an Orthodox church and the first impression is often visual.

Icons may cover the walls. Candles burn before sacred images. Incense rises through the building. A large icon-covered screen separates the main body of the church from the sanctuary, with richly decorated doors at its centre.

These features are not simply decoration.

Orthodox church architecture developed around a particular understanding of Christian worship: that the gathered Church participates sacramentally in the heavenly kingdom. The building, its images and its layout are therefore intended to express theology as well as provide a physical place for worship.

The Orthodox Church in America explains that the traditional Orthodox church interior is arranged to represent the unity of heaven and earth, with the nave occupied by the worshipping Church and the sanctuary centred upon the altar.

Among the most distinctive features is the iconostasis, the icon screen separating the sanctuary from the nave.

At its centre are the Royal Doors, also called the Holy Doors or Beautiful Gates in different traditions.

Icons of Christ, the Theotokos, saints and biblical events surround them, creating one of the most recognisable visual elements of Eastern Orthodox worship.

This guide explains the architecture of an Orthodox church, what an iconostasis is, why the Royal Doors matter, how Orthodox Christians understand sacred icons and how these traditions can be seen in Orthodox churches across Britain.

For the wider history and beliefs behind these practices, see our introduction to Orthodox Christianity.

What does an Orthodox church look like?

There is no single architectural blueprint followed by every Orthodox church.

A medieval Byzantine church in Greece can look dramatically different from a wooden Ukrainian church, a Serbian monastery, a Romanian village church or an Orthodox parish established inside a converted Victorian chapel in Britain.

Certain principles nevertheless appear repeatedly.

Traditional Orthodox church interiors are generally organised around three broad spaces:

• the narthex or entrance area
• the nave, where the congregation gathers
• the sanctuary, containing the altar

The Orthodox Church in America describes this arrangement as symbolic as well as practical. The narthex functions as the entrance into the church, the nave represents the assembled people of God and the sanctuary represents the holy place centred upon the altar.

In purpose-built Orthodox churches, visitors may also encounter:

• one or more domes
• extensive wall paintings or mosaics
• hanging lamps
• large candle stands
• a prominent iconostasis
• images of Christ Pantocrator in the dome
• representations of the Theotokos in the apse
• images of saints around the nave
• carved or painted crosses
• choir areas rather than an organ loft
• relatively open floors because standing remains an important part of worship

The result can feel very different from a church designed primarily around rows of seating and a pulpit.

The meaning of Orthodox church architecture

Orthodox architecture is not intended merely to create an impressive religious interior.

Its arrangement reflects Orthodox theology.

The church building is understood as an image of creation renewed in Christ and, in a liturgical sense, of the Kingdom of God.

This is one reason domes became so prominent in Byzantine and later Orthodox architecture.

A dome creates a sense of the church being gathered beneath one overarching space rather than simply directing attention towards a distant point.

In many churches the central dome contains an image of Christ Pantocrator, Christ as ruler of all.

Below may appear prophets, evangelists, apostles and saints.

The visual sequence places the worshipper within a symbolic representation of the whole Christian cosmos.

The altar remains the principal liturgical focus.

The Gospel Book rests upon it, while the Eucharist is celebrated there during the Divine Liturgy.

The visual architecture therefore directs attention towards both Christ and the Eucharistic worship taking place at the altar.

The narthex

The narthex is the entrance or vestibule of an Orthodox church.

Historically, the distinction between the narthex and nave was more significant than it often appears in modern parish buildings.

Different groups of worshippers could occupy different spaces according to their status within the Church.

Today the narthex commonly contains practical and devotional features such as:

• candles
• icons
• parish notices
• places to make offerings
• memorial lists
• church literature

It functions as a transition from the outside world into the worshipping space.

In some historic churches the narthex itself is substantial and contains important mosaics, frescoes or tombs.

The nave

The nave is the principal area occupied by the congregation.

Orthodox worship traditionally involves considerably more standing than is customary in many Western churches.

Older Orthodox church buildings may therefore contain relatively little fixed seating.

The nave usually contains icons that worshippers may approach before or after services.

Candles are commonly lit before particular icons.

During services, processions and liturgical entrances move through the nave, meaning the congregation is physically surrounded by the movement of worship rather than simply watching activity confined to a distant sanctuary.

The Orthodox Church in America describes the nave as the place where the faithful gather, where icons are venerated and where readings, processions and other rites take place.

The sanctuary

The sanctuary, sometimes called the altar area, lies beyond the iconostasis.

At its centre is the Holy Table, normally referred to simply as the altar.

The sanctuary is not a stage.

It is the principal liturgical space where the Eucharist and other sacred actions take place.

The Gospel Book ordinarily rests upon the altar.

The reserved Eucharist may also be kept there.

Behind the altar is frequently an apse containing a large icon or wall painting.

The sanctuary is normally entered only by clergy and others who have a defined liturgical role.

This restricted access is one reason visitors unfamiliar with Orthodoxy should avoid entering through the iconostasis simply to inspect the church.

What is an iconostasis?

The iconostasis is the icon-covered screen that separates the sanctuary from the nave.

It is perhaps the single most visually distinctive feature of many Orthodox church interiors.

The screen is not intended to imply that the sanctuary has nothing to do with the congregation.

Orthodox interpretation instead presents the iconostasis as a meeting point between the visible worshipping Church and the heavenly reality represented through the icons.

The Orthodox Church in America explains that the iconostasis exists to express unity with Christ, the Theotokos, angels and saints rather than simply functioning as a wall concealing the altar.

Its present elaborate forms developed gradually.

Early Christian churches did not generally contain the towering multi-tiered icon screens seen in some later Russian churches.

Low barriers, columns and curtains historically marked the division between the sanctuary and nave.

Over centuries these developed into icon-bearing screens, eventually producing the more recognisable iconostasis.

The exact appearance varies considerably by region and period.

Some are relatively low and open.

Others reach almost to the ceiling and contain several rows of icons.

The basic arrangement of the iconostasis

Although there are regional variations, certain icons commonly occupy characteristic positions.

At the centre are the Royal Doors.

Immediately beside them are generally:

• Christ on one side
• the Theotokos with Christ on the other

Nearby may be:

• the patron saint or feast to whom the church is dedicated
• St John the Baptist
• local or particularly venerated saints

Additional tiers may contain:

• the Twelve Great Feasts
• apostles
• prophets
• Old Testament patriarchs
• a Deesis arrangement centred on Christ

A very large Russian or Ukrainian iconostasis may contain multiple tiers rising dramatically above the sanctuary entrance.

A smaller Greek or Antiochian church may use a considerably simpler screen.

Royal Doors

At the centre of the iconostasis are the Royal Doors.

They provide the principal central entrance into the sanctuary.

The doors have immense liturgical significance.

They are opened and closed at particular moments during services, including processions and the reading or carrying of the Gospel.

The Orthodox Church in America notes that the precise customs governing when they are opened and closed differ between Orthodox traditions.

This variation matters.

Visitors occasionally assume that every Orthodox parish follows exactly the same detailed ceremonial rules.

In reality, Greek, Russian, Ukrainian, Serbian, Antiochian and other traditions can differ in their use of doors, curtains and entrances.

The underlying symbolism remains closely related, but local liturgical custom affects how it is expressed.

Why are they called Royal Doors?

The terminology reflects their association with Christ the King and with the sacred liturgical actions passing through them.

Different English-speaking Orthodox communities may use:

• Royal Doors
• Holy Doors
• Beautiful Gates
• Holy Gates

They should not be confused with the outer central entrance of the church building, which historically could also attract similar terminology in some contexts.

In modern English Orthodox usage, Royal Doors generally means the central doors of the iconostasis.

Who uses the Royal Doors?

The Royal Doors are primarily used by clergy during prescribed moments in Orthodox worship.

During the Divine Liturgy, the Gospel Book is carried through them during the Little Entrance.

The Orthodox Church in America describes the procession in which the Gospel is brought through the church and the clergy enter the sanctuary through the Royal Doors.

The doors are also connected with other moments of liturgical movement.

Because the sanctuary is restricted to those with a liturgical function, ordinary visitors should not pass through them.

Annunciation imagery on the Royal Doors

One of the most widespread iconographic arrangements places the Annunciation on the Royal Doors.

The Annunciation is the biblical event in which the Archangel Gabriel announces to Mary that she will bear Jesus Christ.

This imagery is particularly appropriate to the central entrance of the sanctuary because Orthodox theology understands the Incarnation as the opening of the way between humanity and God.

The iconography therefore connects the physical entrance through the screen with the theological beginning of Christ's Incarnation.

The arrangement can vary, but Gabriel may appear on one panel and the Virgin Mary on the other.

When the doors meet, the two figures form the complete Annunciation scene.

The four Evangelists

Images of the four Gospel writers frequently accompany the Annunciation on the Royal Doors.

They are:

• Matthew
• Mark
• Luke
• John

The combination has a clear theological logic.

The Annunciation represents the beginning of the Incarnation.

The Evangelists proclaimed the life, death and resurrection of Christ through the written Gospels.

The doors therefore visually connect the Incarnation with the proclamation of the Gospel.

The OCA notes that icons of the Annunciation and four Evangelists are commonly placed on the Royal Doors, while recognising variations in different traditions.

Deacon's Doors

On either side of the Royal Doors are smaller entrances commonly called the Deacon's Doors.

They provide access between the sanctuary and nave during services.

Despite the name, their use is not necessarily restricted exclusively to deacons.

Icons placed on these doors often depict:

• archangels
• saintly deacons
• liturgical servants

Common subjects include the Archangels Michael and Gabriel or early Christian deacons such as St Stephen.

The symbolism reflects service around the altar.

The OCA's description of the iconostasis notes that the side doors may carry images of deacons or angels associated with service at the heavenly altar.

Icons of Christ

An icon of Christ normally occupies one of the principal positions on the iconostasis.

The exact image varies.

Christ may appear:

• as Pantocrator
• holding the Gospel Book
• blessing
• enthroned
• as teacher and judge

Pantocrator is commonly translated as "Almighty" or "Ruler of All".

The image is among the most recognisable forms of Orthodox iconography.

Christ often holds the Gospel in his left hand while raising the right hand in blessing.

The same image may appear in a church's central dome, visually placing Christ above the worshipping community.

Icons of the Theotokos

Opposite the principal icon of Christ is commonly an icon of the Theotokos, usually shown holding the Christ Child.

The Greek title Theotokos means "God-bearer" or "Mother of God".

Its theological purpose is ultimately Christological.

It affirms that the child born from Mary is genuinely God incarnate.

Numerous iconographic types depict Mary and Christ.

They include images emphasising tenderness, guidance, intercession or the kingship of Christ.

Different Orthodox cultures developed particularly beloved Marian icons.

Ukrainian, Russian, Greek, Serbian, Romanian and other traditions therefore share basic theology while preserving distinctive regional artistic traditions.

The patronal icon

An Orthodox church is normally dedicated to a saint, feast or sacred event.

The corresponding icon commonly occupies an important position on the iconostasis.

A church dedicated to St Nicholas may therefore display a prominent icon of St Nicholas.

A church dedicated to the Dormition may contain an icon of the Dormition in the appropriate position.

This means the iconostasis identifies the particular church as well as representing the wider Christian story.

Additional tiers of icons

Large iconostases can contain several horizontal levels.

Their arrangement differs, but common tiers can include:

Local tier

Usually includes Christ, the Theotokos, patronal icons and locally important saints.

Feast tier

May depict major events of the liturgical year, such as:

• Nativity
• Baptism of Christ
• Transfiguration
• Annunciation
• Entry into Jerusalem
• Crucifixion
• Resurrection
• Ascension
• Pentecost
• Dormition

Deesis tier

A central image of Christ may be surrounded by the Theotokos, John the Baptist, apostles and saints turned towards him in prayer.

Prophets

Old Testament prophets may appear in an upper row.

Patriarchs

Particularly large iconostases can include Old Testament patriarchs and ancestors.

The iconostasis can therefore function almost like a visual summary of salvation history.

Why do Orthodox churches use icons?

Icons are not included because Orthodox Christians simply prefer richly decorated churches.

Their use is theological.

Christian arguments over sacred images became especially intense during the Iconoclast controversy of the Byzantine period.

Some Christians opposed religious images and supported their destruction.

Defenders of icons argued that the Incarnation changed the theological question fundamentally.

If God truly became human in Jesus Christ, then Christ genuinely possessed a visible human face.

The Second Council of Nicaea in 787 defended the veneration of sacred icons.

Eastern Orthodoxy recognises it as the seventh Ecumenical Council.

The Orthodox Church in America explains the use of icons explicitly in relation to the Incarnation: because the Word became flesh, Christ can be represented as truly human.

Veneration versus worship

This distinction is essential for understanding Orthodox practice.

Orthodox Christians worship God.

They venerate icons.

The distinction is not simply verbal.

The honour shown to an icon is understood as passing to the person depicted rather than terminating in the physical wood and paint.

A worshipper kissing an icon of Christ is not understood to be worshipping wood.

A person venerating an icon of a saint is not declaring that saint to be God.

The practice is closer to showing honour to the person represented, although Orthodox theology assigns icons a much deeper sacramental and theological significance than an ordinary photograph.

Why do people kiss icons?

Kissing an icon is one traditional expression of veneration.

Orthodox Christians may also:

• bow before an icon
• make the Sign of the Cross
• light a candle
• say a prayer
• touch the icon respectfully

Not every Orthodox Christian performs every action identically.

Cultural traditions and personal devotion vary.

Visitors are generally welcome to observe without copying practices they do not understand.

Are icons supposed to look realistic?

Traditional Orthodox iconography often avoids ordinary photographic realism.

Perspective, proportion, colour and facial expression can be used symbolically.

An icon is not intended simply to reproduce what a saint might have looked like in daily life.

Its purpose is theological.

Figures frequently appear calm and frontal.

Backgrounds may lack conventional perspective.

Gold can represent divine light rather than a physical landscape.

Architecture may be represented in ways impossible in realistic space.

This visual language developed over centuries and varies significantly between schools of iconography.

Icons and frescoes

Not all sacred imagery in an Orthodox church takes the form of portable panel icons.

Churches may contain:

• frescoes
• mosaics
• wall paintings
• panel icons
• embroidered images
• carved crosses

The placement of these images can follow a theological hierarchy.

Christ Pantocrator may occupy the dome.

The Theotokos can dominate the sanctuary apse.

Evangelists may appear on pendentives beneath the dome.

Saints occupy lower wall levels closer to the congregation.

The complete building can therefore function as one integrated visual programme.

Incense, candles and icons

Icons are experienced within worship rather than viewed like objects in an art gallery.

Incense may be offered before them.

Candles may burn nearby.

Clergy may cense the iconostasis, sanctuary, congregation and church.

Processional icons can be carried during feast days.

This is why removing an Orthodox icon entirely from its liturgical context can obscure part of its meaning.

It is simultaneously art, theology and an object within worship.

What are miracle-working icons?

Orthodox tradition contains numerous accounts of particular icons associated with healings, protection, answered prayer or other extraordinary events.

These may become major pilgrimage objects.

They are often described as wonderworking or miracle-working icons.

Orthodox teaching does not normally attribute independent magical power to the physical object.

Any miracle is understood as an act of God.

The icon becomes associated with that event because prayer or healing occurred in connection with it.

Weeping and myrrh-streaming icons

Among the more unusual phenomena associated with Orthodox icon tradition are reports of icons that appear to produce tears, oil or fragrant liquid.

These are sometimes described as:

• weeping icons
• myrrh-streaming icons
• myrrh-bearing icons

Accounts exist across several Orthodox cultures.

Some particular icons have attracted large numbers of pilgrims after reports of liquid appearing on their surfaces.

Such claims require caution.

Orthodox Christianity does not teach that every reported phenomenon must automatically be accepted as miraculous.

Church authorities may investigate unusual occurrences, and individual believers are not required to treat every claim circulating online as authentic.

Theologically, even where an icon is regarded as miraculous, the focus remains upon God rather than the physical phenomenon itself.

For that reason, spectacular claims should not overshadow the ordinary role of icons in Orthodox worship.

The Triumph of Orthodoxy

The restoration of icons after Byzantine Iconoclasm is commemorated annually on the first Sunday of Great Lent, known as the Sunday of Orthodoxy or Triumph of Orthodoxy.

Icons may be carried in procession.

The feast commemorates the restoration of icon veneration in Constantinople in 843.

Its significance extends beyond religious art.

Within Orthodox theology, the defence of icons is closely connected with the doctrine that Christ genuinely became human.

The controversy therefore concerned the Incarnation as much as imagery.

Greek Orthodox iconography

Greek Orthodox churches draw heavily upon Byzantine artistic traditions.

Common characteristics include:

• Christ Pantocrator in the dome
• extensive fresco programmes
• icons in Byzantine style
• carved wooden or marble iconostases
• gold backgrounds
• Greek inscriptions

Modern Greek Orthodox churches can range from intentionally traditional Byzantine designs to converted buildings adapted for Orthodox worship.

Britain contains examples of both.

Ukrainian Orthodox iconography

Ukrainian iconography developed through interaction between Byzantine inheritance and local artistic traditions.

Different historical periods introduced influences from:

• Byzantine art
• Ruthenian culture
• Polish-Lithuanian art
• Baroque Europe
• Russian imperial art

Particularly elaborate carved iconostases became characteristic of many Ukrainian churches.

The Ukrainian Baroque period produced exceptionally decorative church interiors containing gilded woodwork, elaborate icon frames and multi-tiered iconostases.

For the wider historical context, see our history of Ukrainian Orthodox Christianity.

Russian Orthodox iconography

Russian Orthodox icon painting developed distinctive schools over many centuries.

Important historic centres included:

• Novgorod
• Pskov
• Moscow
• Vladimir
• Suzdal

Andrei Rublev became perhaps the best-known medieval Russian icon painter.

Russian church interiors often developed extremely tall iconostases containing numerous tiers of icons.

Russian liturgical custom can also differ in its use of the Royal Doors and curtain compared with Greek practice.

As the OCA notes, some customs concerning how long the Royal Doors remain open during services are particularly associated with Russian practice rather than being universal across Orthodoxy.

Romanian Orthodox churches

Romanian Orthodoxy combines Byzantine Christianity with distinctive regional architecture and art.

Historic Romanian traditions include:

• painted monasteries
• wooden churches
• fresco-covered exteriors
• carved icon screens

Migration has made Romanian Orthodoxy increasingly visible in Britain.

Many British Romanian congregations initially worship in buildings adapted from other Christian traditions, creating interesting combinations of British ecclesiastical architecture and Orthodox liturgical furnishings.

Serbian Orthodox churches

Serbian Orthodox architecture reflects both Byzantine and Balkan influences.

Historic Serbian monasteries are particularly renowned for fresco painting.

In diaspora communities, including Britain, Serbian parishes frequently adapt existing church buildings while introducing an iconostasis and Orthodox liturgical arrangement.

Antiochian Orthodox traditions

Antiochian Orthodox Christianity originates in the historic Christian communities of the Middle East.

Its churches share Byzantine liturgy with other Eastern Orthodox traditions but may incorporate Arabic language and local Middle Eastern artistic influences.

Antiochian parishes in Britain often have particularly diverse congregations and may use substantial amounts of English in worship.

Church architecture in the Orthodox diaspora

Orthodox architecture becomes particularly interesting outside historically Orthodox countries.

A parish established in Britain may acquire:

• an Anglican parish church
• a Catholic church
• a Methodist or other Nonconformist chapel
• a converted secular building

The community then adapts the interior for Orthodox worship.

An iconostasis may be installed across the former chancel.

Icons appear on walls.

Candle stands are introduced.

A sanctuary is organised according to Orthodox liturgical requirements.

As a result, some British Orthodox churches combine recognisably Victorian or Gothic architecture with a Byzantine liturgical interior.

This is part of Britain's developing religious heritage in its own right.

St Sophia's Greek Orthodox Cathedral in London

One of Britain's strongest examples of purpose-designed Orthodox architecture is St Sophia's Greek Orthodox Cathedral of the Divine Wisdom in Bayswater, London.

The present church was designed by John Oldrid Scott and constructed for London's growing Greek community during the late nineteenth century.

Its first liturgy was celebrated in 1879 and the building was consecrated in 1882. It later became a cathedral of the Archdiocese of Thyateira. (St Sophia's history)

The interior is particularly valuable for understanding Orthodox architecture in Britain.

Its iconostasis was designed by Scott and rises approximately 25 feet, or 7.6 metres. It was constructed from Canadian walnut with decorative inlays and mother-of-pearl, while its icon panels were painted by Ludwig Thiersch.

The cathedral also contains mosaics representing Christ Pantocrator, the Apostles, angels, Moses and Aaron.

It demonstrates that Orthodox architecture in Britain is not exclusively the result of recent migration.

London has had organised Greek Orthodox worship for centuries, and the cathedral itself dates from the Victorian period.

The cathedral remains an active place of worship and publishes current service and opening information on its official website.

St Andrew's Orthodox Church in Edinburgh

Edinburgh's St Andrew's Orthodox Church provides a different example of Orthodox life in Britain.

The community traces its history in Edinburgh to 1948 and belongs to the Archdiocese of Thyateira and Great Britain under the Ecumenical Patriarchate.

Today it worships across several locations in the city, with regular Matins, Divine Liturgy and Vespers. (St Andrew's Orthodox Church)

The community illustrates how Orthodox worship adapts to the British religious landscape.

Not every Orthodox parish possesses a monumental Byzantine cathedral.

Many communities develop gradually within existing buildings while maintaining the same liturgical principles around altar, icons, sanctuary and worship.

Our best Orthodox churches in the UK guide explores further examples across Britain.

What should visitors look for inside an Orthodox church?

When visiting respectfully outside a service, look for the overall relationship between architecture and imagery.

The iconostasis

Find the central screen separating the nave and sanctuary.

Notice how the icons are arranged.

Royal Doors

Look at the imagery on the central doors.

The Annunciation and Evangelists are particularly common.

Christ and the Theotokos

Identify the principal images immediately beside the Royal Doors.

Patron saint

Look for the icon representing the church's dedication.

Dome

If the building has a decorated dome, look for Christ Pantocrator.

Sanctuary apse

A large image of the Theotokos may dominate this area.

Candle stands

Notice where worshippers light candles and which icons attract particular devotion.

Local saints

Different churches reveal their cultural history through the saints displayed prominently.

A Serbian, Romanian, Ukrainian or Greek church may contain different local saints while maintaining the same broader Orthodox structure.

Can visitors enter an Orthodox church?

Usually yes, although churches are active places of worship rather than museums.

Opening arrangements vary considerably.

Some urban cathedrals maintain regular public opening hours.

Small parishes may only open around services.

Visitors should:

• check the church website first
• avoid entering the sanctuary
• keep voices low
• dress respectfully
• avoid flash photography
• ask before photographing services or worshippers
• avoid interrupting confession or private prayer
• remember that people may be venerating icons rather than sightseeing

During the Divine Liturgy, visitors are generally welcome to stand quietly towards the rear if unsure what to do.

Holy Communion should not be approached unless the visitor is an Orthodox Christian properly prepared to receive according to the parish's discipline.

Icons as art and religious heritage

Orthodox icons can be studied as important works of art.

Museums hold historic examples because they reveal:

• artistic techniques
• trade and cultural exchange
• political history
• regional schools
• medieval craftsmanship
• changing styles of representation

But treating an icon only as art misses part of its significance.

For Orthodox Christians, the icon remains an object of living religious practice.

The same image that an art historian studies for pigments and stylistic influences may be approached by a believer with prayer and veneration.

Religious heritage interpretation works best when both dimensions are acknowledged.

Icon restoration and conservation

Historic icons present particular conservation challenges.

Materials may include:

• wooden panels
• gesso
• egg tempera
• gold leaf
• varnish
• textiles
• precious metal covers

Smoke from candles and incense can accumulate over centuries.

Temperature and humidity can affect wooden panels.

Earlier restorations may themselves alter an icon's appearance.

Conservation therefore has to balance preservation of the physical object with respect for its continuing religious use.

Icons remaining inside active churches are not simply museum pieces.

Frequently asked questions

Continue exploring Religious Heritage

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Best Abbeys and Monastery Ruins in the UK
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Final thoughts

Orthodox church architecture is best understood as part of Orthodox worship rather than as decoration surrounding it.

The nave gathers the worshipping community.

The sanctuary centres on the altar and Eucharist.

The iconostasis places Christ, the Theotokos, saints and the story of salvation before the congregation.

The Royal Doors open and close as the liturgy moves between sanctuary and nave.

Icons are kissed, censed and illuminated by candles because they remain part of living religious practice.

Even the building itself participates in the same theological language.

Domes, mosaics, frescoes, processions, incense and sacred images combine to present an Orthodox understanding of the Church as a meeting place between heaven and earth.

Different cultures have expressed that tradition differently.

Greek churches preserve strong Byzantine forms. Ukrainian and Russian traditions developed monumental multi-tiered iconostases. Serbian and Romanian churches developed their own architectural and artistic languages. Migrant communities in Britain have adapted Anglican churches, chapels and other buildings to Orthodox worship.

The result is not one uniform architectural style but a shared religious structure expressed through many cultures.

For visitors in Britain, the best way to understand the iconostasis is to see one in its intended setting.

Start with our guide to the best Orthodox churches in the UK, where these traditions can be encountered within living Orthodox communities rather than only through photographs or museum displays.