This chapter aims to manifest the interdependence between illustrations, ritual instructions, and musical manuscripts. In particular, the chapter suggests that illustrations closely depict the evolution in performance of the kontakion and the oikoi as soon as it is incorporated into ritual instructions of the mid-thirteenth century. Specifically, the gradual transmission of the oikoi from psaltai to priests and the consequent shift from the ambo or the centre to the altar, at least for a while. Moreover, the chapter demonstrates that hagiographers seem to be aware of byzantine performance practices since participants in chanting, such as priests and asketeria and the practice of cheironomy are incorporated in illustrations, though not specifically referred to by typika or musical manuscripts, when describing the Akathistos performance. On the contrary, musical manuscripts of the late Byzantine period tend to accumulate works that comply with performance practices before the turning point of the thirteenth century. Finally, the chapter suggests that certain depictions of processions across the city with the icon of the Hodegetria, held on Fridays during the service of presbeia may be incorporated among those that witness the performance of the Akathistos Hymns, in particular concerning the chanting of women and children.