Attested in Byzantine documents from the 14th cent., named Palatitzia or Palatetzia, the village which was founded east of the ancient city-core of Aigai is the “continuity” in the time and place of the ancient Macedonian Metropolis. In its name rescues the memory of the glorious palace of Phillip II, the “palace” that still haunts the place.

The church of Agios Demetrios, a spacious Basilica, it was built, as it seems, around or shortly after the mid-16th cent., and it was painted in 1569-1570. The building incorporated spolia from ancient edifices of Aigai and were used even as bases for the church columns drums of the Doric colonnades of the Palace.

The Christian modesty prevented the founder and main sponsor of the church to reveal his name, but we know the names of other donors, among which stands a woman, Daphne. From the dedicatory inscription we learn that in the year 1570 the painter Nikolaos from Linotopi Kastroria elaborated the mural paintings of the church. Impressive in size, but also in the quality of the painted decoration, the church of Agios Demetrios, marks a time of prosperity and flowering of art in the region.

In the early 19th cent. extensive repairs were made. At that time is constructed the single pitched roof and the wooden templon, but the most interesting feature of the monument remains the mural paintings, preserved almost in the entirely.

In the sanctuary the Virgin Mary, the Communion of the Apostles and the Melismos of Christ with the officiating prelates are the backbone of the typical thematic associated with rituals and the mystery of the Eucharist.

In the nave and narthex, the decoration is developed in zones: full-length saints are depicted next to the worshiper in the lower zone, followed by saints and prophets in busts, while in the upper zone are narrated scenes from the life and miracles of Christ, the Passion and the events following the Resurrection, the life of the Virgin and the honored Saint Demetrios.

Majestic is the depiction of the Final Judgment occupying the whole eastern wall of the narthex. Here indeed is shown Alexander the Great, next to the rulers of the three major kingdoms of Antiquity, the Nebuchadnezzar, Cyrus and Octavian Augustus. Alexander “returns” to Aigai, the cradle of his house, to symbolize the equality of all, ordinary people and mighty kings in the dreadful hour of the Final Judgment.