On the southern side of the Trinity Church in the mid-17th century, there were the dwellings of the poor, which Bogdan Tsvetnoy moved to the settlement. In the freed-up space, a stone Kazan gate church was built in 1648. On the southern side of the church, above the windows in the frames, there are inscriptions indicating the date of construction and the name of the builder: "this church was created in 1648," "and the builder was the merchant Tarasiy, son of Boris, by the order of Bogdan Tsvetnoy." The Kazan gate church was erected five years after the Trinity Church and is one of the magnificent buildings of the Trinity Monastery ensemble. Its dimensions are miniature, being half the size of the Trinity Church in plan. The external size, including the altar part, is only 2.5 fathoms. However, due to the church rising above the "gates," which serve as the main entrance to the monastery, and the unusual for that time tent-like composition, the Kazan gate church does not yield to the Trinity Church. Bogdan Tsvetnoy likely wanted to create a temple unlike any in his native Murom or in Moscow, where he was one of the wealthy merchants. The architect he invited demonstrated great taste and tact, showing a deep understanding of Russian architecture, applying hanging columns typical of Vladimir-Suzdal architecture and details of tent churches from the 16th century. The displacement of the gate church from the west-east axis, on which the Trinity Church is located, initiated the creation of a complex architectural composition, later completed by the construction of the bell tower. The Kazan gate church surpasses the Trinity Church in decorative embellishment. Its elegant proportions create the impression that the building is carved from a single monolith. The cubic-shaped temple is set on a high stone base of the Holy Gates, consisting of two arches, larger and smaller, representing a sculptural composition of hanging half-columns. The bases of the arches rest on rectangular pillars with niches and white stone details. The southern facade of the cube is divided into two almost equal parts by paired three-quarter columns, reflecting the internal layout. The narrow slit-like window openings and niches, expanded in the 18th century, are framed by half-columns made of molded brick, resting on consoles and connected by semi-circular arches. Above the openings are six decorative helmet-shaped inserts, frames. The central frames are carved with the date of construction and the name of the builder. A wide, flat cornice is inserted with a continuous row of tiles, continuing around the entire building. The cube is topped with kokoshniks with zakomar coverings. The corner kokoshniks are connected by decorative inserts, showing the master's fine artistic sense. Above the kokoshniks rise elegant octagonal eighters and a tent. Each face of the eighter has an almost square niche, on the inner plane of which three multi-colored tiled plates are placed vertically. The top of the eighter is finished with a cornice with teeth and 16 kokoshniks, forming the base of the octagonal tent, topped with a slender neck of a tribune and an onion-shaped dome. At the base of each face of the tent is a row of vents with triangular pediments. The porch on the western side of the church, located above the stone utility tents, is also interesting. While the decor of the part adjacent to the cube repeats the architectural details of the main volume, the architecture of the wall adjacent to the bell tower features different details. This part was likely an open gallery with elegant windows with two-leaf fillings of arches, the inner bases of which rest on a carved white stone weight hanging on a metal pin. This technique was first used in the gallery of the Murom Kazan gate church and was repeated in other buildings in the city, such as the porch of the Annunciation Cathedral. The architecture of the lower part of the undercroft of the gate church is simple and devoid of details. On the southern side of the undercroft, the only window is framed with a simple molding of molded brick, and the entrances to the tent on the northern side are simple openings.

The tent-like Kazan church of the first half of the 17th century is one of the few temples of that time built in deviation from the "church order," bypassing the reforms of Patriarch Nikon, who prohibited the construction of tent churches. Unfortunately, the interiors of the Trinity and Kazan gate churches have not survived to this day. By the end of the 18th century, significant alterations were made here. In 1786, as confirmed by the monastery's chronicle, in the Trinity Church, instead of doors, "two round lintels" were made, and a new door was pierced for entry into the church in place of the previous one, which faced an arch. The doors leading from the porches to the church were widened by an arshin on both sides and by half an arshin in height, making it difficult today to judge the shape and decorative framing of the entrances to the church. A distinctive feature of the Trinity and Kazan gate churches is the presence of "voice holes" in the walls, resonators of jug-like shape, recessed into the walls and significantly improving acoustics.