The latter influence has left considerable traces in the painting of icons, in the religious rite, in the language of the parish, in the traditional customs of some Albanian colonies in the province of Palermo.

In 1184 the Arab traveler Ibn Jubayr visited the church, and later devoted a significant portion of his description of Palermo to its praise, describing it as "the most beautiful monument in the world."

The church is now also known as "Parrocchia San Nicolò degli Albanesi", or "Famullia / Klisha e Shën Kollit i Arbëreshëvet në Palermë in Arbëresh language.

The liturgical rites, the wedding ceremonies, the baptism and the festivities religious of the parish of San Nicolò dei Greci follow the Byzantine calendar and the Albanian tradition of the communities of the Eparchy of Piana degli Albanesi.

It is not uncommon here to hear the priest and the faithful speaking habitually in Albanian, in fact the language is the main element that identifies them in a specific belonging ethnic.

Some young woman from Piana degli Albanesi marries still wearing the rich wedding dress of the Albanian tradition and the ceremony of the marriage (martesa).

[10] A special celebration for the Arbëreshë population is the Theophany or Blessing of the waters on 6 January (Ujët e pagëzuam);[11] the most important festival is Easter (Pashkët), with the oriental rituals of strong spirituality of Holy Week (Java e Madhe) and the singing of Christos anesti – Krishti u ngjall (Christ is risen).

The three apses in the east adjoin directly on the naos, instead of being separated by an additional bay, as was usual in contemporary Byzantine architecture in the Balkans and Asia Minor.

In the interior, a series of wooden beams at the base of the dome bear a painted inscription in Arabic; the text is derived from the Christian liturgy (the Epinikios Hymn and the Great Doxology).

The church also boasted an elaborate pair of carved wooden doors, today installed in the south façade of the western extension, which relate strongly to the artistic traditions of Fatimid north Africa.

[16] On account of these "Arabic" elements, the Martorana has been compared with its Palermitan contemporary, the Cappella Palatina, which exhibits a similar hybrid of Byzantine and Islamic forms.

The nave dome is occupied by the traditional byzantine image of Christ Pantokrator surrounded by the archangel saints: Michael, Gabriel, Raphael, and Uriel.