The hall church (5.7 × 5.7 m including the annex) is built of rubble stone and lime mortar in irregular courses. Into the outer corners, laid with large blocks of roughly worked sandstone, travertine stones are set here and there. Outside, the walls are leveled with plaster filling the joints and partly covering the stone surface; later the church was plastered over outside as well (fragments of the coating survive). The church is entered from the south, through the annex. On the annex side the door was spanned by a stone architrave, while inside it is arched; the arch does not merge directly with the door jambs but is slightly wider than the opening, forming small steps at its springing. The church's interior space is narrow and tall. On the east is a semicircular apse with a tall arched window on its axis, flanked by a rectangular niche on either side. Beneath the window a stone altar stands against the wall. The sanctuary platform is one step above the nave floor. The apse is covered by a conch whose arch rests on imposts of simple profile (a shelf and a slightly concave curve) crowning the corners of the apse. The hall's south and west walls each have one window, both set high in the wall and spanned horizontally with stone slabs. The church is painted; the painting belongs to the 13th century. The sanctuary painting is divided into two registers. In the conch is a large Deesis composition filling the whole conch and reaching almost to the crown of the window arch. The monumental figure of the Savior far exceeds in size the figures of the Mother of God and John. The Savior wears a reddish-brown chiton and a white himation; on his right shoulder the divine light is imitated with fine white lines. In the painting's second register the church fathers were depicted. On the front face of the conch arch survive the remains of a masterfully executed Asomtavruli inscription. The scenes of the cycle of the Great Feasts on the hall's walls are small compared with the conch composition. The first register's painting on the south and north is set within the vault. On the eastern section of the south wall are the Annunciation, then the Nativity; the scene on the west wall cannot be identified. On the north wall, from west to east, are the Baptism and the Raising of Lazarus. The second register's painting survives on the west and north walls. In the northern part of the west wall the Harrowing of Hell can be made out; on the north wall, to the west the Ascension, to the east the Descent of the Holy Spirit. Along the whole length of the vault's central part runs a band of plant ornament dividing the paintings of the south and north slopes. The painting is the work of a highly accomplished master. The compositions are many-figured; the movement is soft and light, the proportions refined, the drawing supple and delicate. In the palette, yellow, reddish-brown, gray, blue and white predominate. The church's facades are plain, devoid of all adornment; on the east facade the window arch is given a horseshoe form in plaster. The walls are finished with a slightly projecting three-stepped cornice of broken sandstone, which on the transverse facades, at the foot of the pediments, has horizontal returns. A contemporary rectangular annex adjoins the church on the south; in its south wall is a two-bay arched entrance (the eastern bay is walled up to the springing of the arch). The arches rest on a roughly built round column crowned with a plain capital (it is late). In the annex, on the east, is a rectangular window, with a rectangular altar set against the wall beneath it. On the south the churchyard has a stone-and-lime retaining wall (about 2 m high, 25 m long) reinforced by three mighty semicircular buttresses.