The church is located on Epiphany Square opposite the Spaso-Preobrazhensky Monastery. The five-domed stone temple was built between 1684 and 1693 on the site of an ancient wooden church mentioned as early as the 13th century. Its construction was financed by merchant Alexei Abramovich Zubchaninov. The church is pillarless, five-domed, without a basement, surrounded on three sides by galleries leading to the chapels. On the northern side, there was a chapel in memory of the Last Judgment, and on the southern side, a warm chapel in the name of Dmitry of Priluki. After the fire of 1753, the old wooden domes were replaced with new ones made in a whimsical Baroque style. In the 1950s, the domes and tile decor of the church were restored according to the project of V.N. Zakharova. The exact date of the church's painting is unknown, but an inscription in the altar indicates that the church was consecrated by Metropolitan Joasaph of Rostov on July 2, 1693. It is likely that the painting was completed in 1693, having begun a year earlier. The authorship of the painting is not established, but the stylistic heterogeneity indicates the involvement of two different artistic collectives. The painting of the vaults is done in a monumental style with a bright color palette and likely belongs to the collective of Dmitry Grigoryevich Plekhanov, a well-known Yaroslavl master. For some reason, these masters were recalled, and the work on the walls was completed by other Yaroslavl artists. In the 1800s, the lower tier of the wall paintings was updated by Semyon Stepanovich Zavyazoshnikov. In the 1860s, the painting in the altar was renewed, and in the 1950s, the colorful layer throughout the church was strengthened and washed by V. Bryusova and A. Rogozin. The painting consists of 320 narrative panels and has survived almost completely. The scheme of the painting in the Church of the Epiphany differs from other Yaroslavl ensembles in its restraint of themes, limited to three main cycles: evangelical, apostolic, and liturgical. Due to the lack of light drums, the closed vault plays a major role in the interior, divided into four parts. In each of the triangles of the vault are large compositions of evangelical feasts. In the eastern sector, the New Testament Trinity is depicted. In the center of the composition are the figures of Christ and Savaof on the throne, surrounded by a white glory. The Cross of Golgotha serves as the axial center of the iconostasis. The pyramidal scheme is repeated in the paintings of the other three vaults dedicated to the Resurrection, Ascension, and Dormition. The center of these scenes is the figure of Christ in a golden glory. In the scene of the Resurrection, Christ is depicted twice: in the Life-Giving Resurrection from the tomb and the Descent into Hell. The latter scene stands out with its optimistic sound and bold color solution. Christ stands on the bars of hell and reaches out to the rising Adam, while the archangel Michael casts Satan into hell. Against the black background, the symbols of the bondage of sin are clearly highlighted. The walls of the church are divided into 9 tiers, the upper of which begins at the lower part of the vaults, creating a visual effect of height. Six tiers contain narrative friezes, with widths varying from 1.2 to 2 m. The seventh tier of the northern and southern walls is decorated with floral ornamentation, repeated on the window sills. Following this are the church-building chronicle and the traditional under-ceiling. The wall paintings include about 100 compositions of the evangelical cycle dedicated to the life and sufferings of Christ. The evangelical themes occupy the six upper tiers, while the seventh depicts the Passion of Christ. On the window slopes are scenes of the preachings and martyrdoms of the apostles. Horizontal friezes extend onto the window arches, which are adorned with traditional emblems. In the arch of the western portal is depicted the Deesis, in the arch of the northern portal, the Savior on the cloth. Angels are depicted on the slopes of the portals. The iconographic scheme of the altar includes compositions such as 'Rejoice in You' and 'Behold the Lamb'. On the walls, liturgical scenes, and on the western wall, 'Wisdom of God, Sophia'. At the zenith of the central portal is depicted the Eucharist. On the western wall of the altar, the Liturgy of Gregory the Theologian. On the western side of the deacon's area, the scene of the Elevation of the Gospel. The iconostasis in the style of Ukrainian Baroque dates back to the early 18th century. Its carved ornamentation resembles grape clusters. The central part is adorned with figures of angels. The lower tier of the iconostasis was remodeled in the early 19th century. Most of the icons for the iconostasis were painted between 1684 and 1691 by Semyon Spiridonov Khomogorets and his brother Vasily. In 1830, 1844, and 1858, the church underwent renovations. In 1833, the church was enclosed by a stone fence. In 1930, the church was closed and transferred to the State Museum, and in 1999 it was returned to the Russian Orthodox Church.