The church is located in the center of the city on a small trading square, facing Revolution Street. It dominates the surrounding buildings and is clearly visible from afar when approaching along the Ivanovo-Ples highway. Built by Kostroma craftsmen in 1779 on the site of a wooden tent church known since 1523, it has brick walls, whitewashed over the masonry. In the 19th century, side wings and a narthex were added, and in 1989, lightning destroyed the tent of the bell tower. This is an expressive example of a church from the Kostroma school of the 18th century in the Baroque style, with a volumetric-spatial composition characteristic of an earlier time. The two-light square is topped with five domes on octagonal drums. The altar is significantly lowered and narrowed, having a pentagonal shape. The rectangular refectory, equal in height to the altar and with rounded corners, is elongated along the transverse axis, with small domes of the chapels rising above its slopes. The composition of the church features a slender bell tower. The large lower square with arched openings supports an octagonal pillar with a low half-tier and an open ringing tier. Above it rises a tall tent with four rows of windows and a small dome. The facade decoration of the church is expressive: the entablature with dry loaves and modillons in the cornice completes the lower tier of the square, which is supported above the side two-column porticoes with pediments. The upper light tier is decorated with pilasters between the windows and at the corners. The attic, separated from the square by an entablature, is adorned with original shaped panels in place of kokoshniks and rectangular panels along the axes of the pilasters. The painted windows in the recessed fields of the rectangular panels are unusual. The tall rectangular windows of both tiers are framed with decorative casings with ears, brackets, and arched sandriks. The edges of the bell tower's pillar are decorated with large panels. Its decor is complemented by archivolts of the ringing arches and various frames of the windows, maintained in the spirit of the 17th century, with paired openings in the lower row and round ones in the third. The main volume is covered with a vaulted ceiling with a light ring of the drum, the apse has a complex trough vault with arches above the windows, and the refectory has three barrel vaults oriented along the west-east axis, while the lower tier of the bell tower is cross-vaulted. A richly profiled plaster cornice at the level of the window slopes divides the walls into two tiers. Fragments of 19th-century oil painting have been preserved. The floor is laid with cast iron tiles featuring a floral ornament. The 19th-century iconostasis is an expressive work in the Baroque style. The frame retains the signature of the carver V.G. Lebedev. The icons are made in the spirit of ancient Russian painting of the 17th century. The lower tier and all its icons have been almost completely lost. The two-tier monumental structure has recesses along the axes of the side gates. The lower tier ends with a massive multi-faceted entablature, the middle part of which is accentuated by an arched pediment. Above it rise two columns entwined with garlands, supporting the crowning entablature with a broken pediment in the center. In the second tier, icons of three ranks are located. The iconostasis was completed with icons in carved cartouches. The entablatures of the middle and side parts are connected by arches. Elegant elements of carved decor, drapery above the royal gates, floral scrolls in the frames, strict modillons of the cornices, and embossing on the friezes give the structure a festive appearance. The royal gates are adorned with plastic and lush carvings in the form of cartouches.