During the same period when the solea was introduced and the procession of the hymns prevailed with the division of the chanters into two choirs that chanted in responses, the lecterns for the chanters were also instituted. In order to better service the chanters, they also assumed various shapes.
We have noted variety in their structure, the decoration and the technique. They carry on occasions a four side or six sided or eight side trunk with the corresponding feet, with an embossed, painted or inset decorative, as well as openings for the holding of the liturgical books.
On the upper section they carried the main lectern; on some occasions they had a level surface, on others they had inclined surfaces to hold the liturgical books and on others they had three slanting open corners that were supported upon an axis for turning.
Their decoration did not always follow that of the other furniture in the church. On the contrary we may say, since especially from the 17th century and until the 18th century, there prevailed the lecterns with the inset decoration technique, of Islamic influence, such as for example at the church of the Repose of the Virgin Mary at Botsa, the Repose of the Virgin Mary at Chrysobitsa, etc. From the 19th century onwards they usually followed the decoration of the other furniture in the church.