Cyprus as part of the Byzantine world preserved traces of the Akathistos Hymn in the hymnological tradition going back to the ninth century, while already in the twelfth century its influence is apparent in Cypriot theological texts and church inscriptions. The liturgical evolution of the new autonomous Akathistos’ feast is also documented in middle Byzantine Cypriot manuscripts. The iconographical depiction of Akathistos reached Latin-occupied Cyprus but was preserved only in four painted churches, till its reappearance (eighteenth century) in the Cathedral of Lefkosia. Two of them present an intelligent iconographical innovation, while all 24 Stanzas decorated two important monastic churches. Donors’ image (1514) depicting an Akathistos manuscript offers insights into a competitive, ecclesiastical climate between Latins and Orthodox, allows a better understanding of the social structure of the island, and underlines the dogmatic boundaries between the Latin rulers and the local Greeks. Cypriot manuscripts with the musical chanting of the Salutations throughout the Ottoman period confirm this Constantinopolitan chanting feature of the Palaiologan period in Cyprus as well. A preserved portable icon with the incorporation of the Akathistos’ Stanzas testifies to the arrival of this new Constantinopolitan iconographical development in Cyprus. Its amalgamation with the Kykkotissa-type gave birth to numerous iconographical subtypes relating Kykkotissa with Akathistos, which were spread with the support of typography all over the orthodox world. In one of these icons dated in 1589 appears the oldest reference ascribing the composition of the Akathistos Hymn to Romanos the Melodist.