The so-called Latin Chapel of the St. John Lampadistis Monastery in the village Kalopanagiotis in Cyprus presents a complete iconographical program of frescoes of the Akathistos Hymn, in the ‘Cypro-renaissance style’, dating to the end of the fifteenth to the early sixteenth century. The so-called Chapel was a secondary narthex, where the Akathistos Hymn was sung daily after the dinner, as it still happens to the Orthodox monasteries. Furthermore, the secondary narthex and its pictorial cycle facilitated the religious needs of the pilgrims to reach the grave of St. John Lampadistis, located at the northern part of the holy altar of the Chapel of St. John Lampadistis. The donor of the ‘Latin Chapel’ was probably a bishop, an abbot or a rich Cypriot with a modern artistic orientation, who, while emerging socially and economically, approached the pictorial style of the ruling class on Cyprus and wanted to flatter them, through his stylistic choice. Among the persons depicted in the Stances of the Akathistos Hymn, Popes, Doges, and members of the Venetian aristocracy were identified, as well as, probably, the former queen of Cyprus, Caterina Cornaro, presented on the most important Stance of the Chapel, F/20, which is symbolically referring to the St. John Lampadistis. The depiction of the Pope could be understood as evidence of appreciation to him on behalf of the Orthodox population of Cyprus, who felt him as his protector from abuses exercised against them by the local Latin clergy. The pictorial cycle of the Akathistos Hymn in a such prominent pilgrimage of Latin Cyprus (1192–1571) shows its acceptance by both Greeks and Latins of the island and reveals special features of the syncretic civilization during the Latin rule of Cyprus.