The rural stone church with five domes and a bell tower was built in 1806. It includes three altars: the Epiphany of the Lord, Saint Nicholas, and the Kazan Mother of God.

The Epiphany Church was erected shortly after the death of P.I. Sheremetev. Previously, there were two old wooden churches dedicated to the Epiphany and Nicholas on this site. The Uslavtsevo church represents a traditional combination of a square summer temple, a warm refectory with the altars of Nicholas and the Kazan Mother of God, and a bell tower. The length of the temple is 33 meters. Despite its modest size, the church looks majestic due to its good proportions and harmonious combination of all elements.

The main volume of the temple is topped with low square tambours and crowned with a slender five-domed structure. The drums of the domes have an octagonal shape. The church is covered with a high vaulted ceiling, while the ceilings of the refectory rest on two powerful pillars. The walls are decorated with flat decorative niches with upper and lower light windows. The corners of the summer temple are slightly rounded and treated with rustication. The arched openings of the bell tower are decorated with small risalits and triangular pediments on the middle tier. The bell tower is topped with an egg-shaped roof with an onion dome on an octagonal drum. Next to the bell tower, not aligned with it, are gates adorned with semi-columns from the now non-existent stone fence.

The walls and ceilings of the temple are covered with glue painting in a pink-lemon sunny palette. The ceilings depict the "Symbol of Faith," while the walls feature the "Beatitudes," "Our Father," "Resurrection," "Doubting Thomas," "The Appearance of the Angel to the Myrrh-Bearing Women," "The Miraculous Catch of Fish," and "Christ and the Samaritan Woman." Figures of saints are depicted on the window slopes. The altar presents the "Last Supper" and the "Seven Sacraments." Some scenes are framed like paintings in classic frames imitating stucco. The wall painting is done in the fresco technique with subsequent detailing in glue paints. In the refectory, the painting has been updated with oil paints and has deteriorated poorly.

The four-tiered iconostasis and the altar canopy are crafted by the fortress carvers of Count N.P. Sheremetev. The iconostasis is distinguished by good proportions, a variety of details, and a high level of execution. Gilded palm branches, decorative vases, acanthus leaves, loaves, and frescoes stand out dramatically against the red background. Blue columns are entwined with gilded floral garlands. The central part of the iconostasis is adorned with carved angels, cherubim, the crucifixion with the attending figures, and the instruments of the Passion. Above the royal doors is a count's crown. Almost all icons were painted in the early 19th century.