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The lamb opened the first four of the seven seals one by one, each time resulting in a rider appearing in the row. The four riders each had a different weapon, which they used to kill a quarter of the people in total. In the lower portion of the frame, the inscription reads:
I looked, and there before me was a white horse! Its rider held a bow, and he was given a crown, and he rode out as a conqueror bent on conquest.
In the upper portion of the frame appears, rather mistakenly, the text corresponding to the next scene:
I saw under the altar the souls of those who had been slain because of the word of God and the testimony they had maintained about the lamb.

This scene contains a significant innovation in Orthodox ecclesiastical art: The depiction of God the Father. Although Byzantium would consider it inappropriate to portray God as a human being (except Christ Himself, of course), 16th century society adopted it without resistance, along with other themes seen in engravings of well-known works of the Renaissance and Mannerism.
In the Monastery's fresco, God the Father is seated on a throne held by an angel. He receives the respect and the praises of the four creatures (the angel, the eagle, the ox, and the lion), while above His head seven torches burn. A rainbow, the symbol of peace between God and humans, is placed above the torches. On the right and left sides, twenty-four elders also seated on thrones praise Him with harps and incense. God holds a book sealed with seven seals which a seven-horned lamb, symbolizing Christ, is opening. The inscription reads:
And there before me was a throne in heaven with someone sitting on it. And the one who sat there had the appearance of jasper and ruby. A rainbow that shone like an emerald encircled the throne.

'I was given a reed like a measuring rod and was told, 'Go and measure the temple of God. And I will appoint my two witnesses, and they will prophesy for 1,260 days'.
As in all the frames, the inscription quotes some abbreviated sections from the original text of the Revelation (11, 1-3). In this scene, Enoch and the prophet Elijah, who had been taken to heaven to appear again as witnesses in the days of the Anti-Christ, are threatened by a winged beast with a crown standing next to them.

The long inscription quotes the Revelation (10,1):
'Then I saw another mighty angel coming down from heaven. He was robed in a cloud, with a rainbow above his head; his face was like the sun, and his legs were like fiery pillars.
The angel is standing with one leg on land and the other on the sea. He is holding a little book, which lies open in his hand; in its pages, the words of the angel to John are written:
Take the book and eat it. It will turn your stomach sour, but in your mouth, it will be as sweet as honey.

The first scene of the visual narrative shows the beginning of the Revelation: Christ's appearance to John. Standing in front of John, Christ blesses him with His right hand, while in front of Him there are seven candlesticks symbolizing the seven churches of Asia Minor. The inscription at the top quotes an abbreviated version of the corresponding text of the Revelation:
I, John, was in the Spirit. And when I turned I saw seven golden candlesticks, and among the candlesticks was someone like a son of man, dressed in a robe reaching down to his feet and with a golden sash around his chest.
The fact that misspellings are minimal speaks about the painter's education.