The stone church of Cyril of Belozersk is first mentioned in the 1637 inventory of Murom, located above the northern holy gates of the Spassky Monastery. In 1797, the church was abolished, and on May 7, 1807, the construction of a new brick northern fence with a new gate church began, for which the old one was dismantled. However, by the mid-19th century, construction of the temple was halted due to a lack of funds.

In 1809, Archimandrite Benjamin appealed to Bishop Xenophon with a request to dismantle the dilapidated bell tower at the Protection Church and build a new bell tower with a church at the holy gates, which were moved to the western side. Plans were attached to the request, which are now missing. The project was never completed. The construction of the fence and gate church was prolonged due to a lack of funds and poor quality materials. Expenses for construction are mentioned in 1817, 1819, 1821, 1822, and 1848. The 1846 inventory mentions four stone buildings of the monastery, including the unfinished church and bell tower, which never received a ringing tier. The church above the holy gates was not built due to cramped conditions and a lack of particular necessity. In 1869, the building above the gate church housed the archive of the Murom Spiritual Administration. By 1873, new stone buildings appeared in the southwestern part of the monastery, including rooms for the gatekeeper, groom, and workers, attached to the gate church. In 1881, these premises were rebuilt, and in 1913, they were covered with iron. In 1889, roof repairs were carried out at the holy gates, after which the monument acquired its current appearance. Until 1995, the Spassky Monastery complex was used by a military unit, leading to significant losses and alterations. The gate church served as a checkpoint. The church was restored and consecrated on June 22, 2005.

The volumetric-planning structure of the gate church repeats the traditional scheme of a church-bell tower. The central square volume above the holy gates is surrounded on the north and south by rectangular "wings" of lesser height, under one of which there are passage gates. The first tier of the southern wing housed a staircase leading to the second tier. The third tier, intended for ringing, was not built, which affected the appearance of the monument. The orientation of the church, the remnants of the arch on the northern facade, and the destruction on the eastern facade suggest that a significant risalit was adjacent to the east, the second tier of which was the apse of the church. It is possible that this part was not completed or collapsed after construction. The western arch of the holy gates combines elements from different periods, some of which may have been erected before 1809 and then incorporated into the volume of the gate church. The architectural design of the western facade allows the church to be attributed to the classical style, while other facades are heavily distorted by extensions and alterations. The completion of the monument is of late origin, and the cross is lost. The condition of the monument is unsatisfactory, close to emergency: there are cracks in the walls, brick destruction, and masonry collapse due to the lack of a cornice overhang on the roof. The ceilings and roofs are in poor condition, and the shape of the windows and doors is distorted by later alterations. In 1992-1993, the Vladimir Restoration enterprise conducted scientific design work, measurements, and inspections of the monument. The preliminary sketch project for restoration needs adjustment based on additional research. Final conclusions regarding the construction history are only possible after extensive archaeological studies. Repair and restoration activities are reflected in the graphic part of the project. The depiction of unfinished elements is not a justified reconstruction but merely demonstrates the original concept. The reconstruction of the ringing tier is deemed impractical. It is proposed to add to the central volume with the installation of a cornice. The completion of the roof and central volume is left unchanged with some elevation of the marks. Considering the specificity of the object's history and its significance in the monastery complex, the project allows for the use of stylistic restoration methods to create a complete image of the structure.