The church was built with the funds of parishioners in the 1780s, replacing an old wooden structure. Permission for construction was obtained in 1770 from Kazan Archbishop Ambrose. Initially, the church had two altars: in the cold temple, in the name of St. Nicholas the Wonderworker, and in the warm one, in honor of the Three Hierarchs. The main volume of the cold church, executed in the style of Vyatka Baroque, is distinguished by elegance and slenderness. It is believed that its construction was carried out by the stone contractor M. L. Zlobin or the masters of his workshop. At the end of the 19th and beginning of the 20th century, the refectory was completely rebuilt, expanded, and connected by a covered corridor to the bell tower. When the warm church was consecrated, the northern chapel was named in honor of the Three Hierarchs: Basil the Great, Gregory the Theologian, and John Chrysostom, while the southern one was dedicated to the Protection of the Mother of God. The facades of the refectory are stylized to resemble the architecture of regional Baroque, characteristic of Vyatka monuments of the 18th century.

The modern bell tower, decorated in the style of late classicism, was likely built in the early second half of the 19th century according to a design by A. S. Pleskovsky. The two-column porticos added to the northern and southern portals of the cold temple have been lost, and the portals themselves have been significantly altered. Under the transition and the western part of the warm temple is a basement floor, where utility rooms and heating stoves could be located. The brick walls of the building were previously covered with lime mortar and painted in a green-salad color, highlighting architectural details with whitewash. The plaster has weathered significantly, but the paint on the northern facade has preserved quite well. The dimensions of the building are: length 70 m, width of the refectory 20 m.

The two-light square, whose walls end with half-domes, is covered with a high domed roof with two diminishing light octagons. Above the upper octagon rises a miniature dome with a fluted skirt. The square adjoins a five-sided altar and a spacious warm church with a gable roof. The three-tiered bell tower, topped with a rotunda and spire, features a massive base. The transition between the bell tower and the church has entrance openings on the sides.

Inside, the square is covered with a vault with an octagon of the light drum. In the altar, the vault transitions into a conch with window openings. The interior space of the warm church is organized according to a four-pillar scheme. The refectory is covered with a system of intersecting vaults. The western part of the refectory has two tents and a narthex between them. Stoves are built into the walls of the tents, and a door from the narthex leads to a chamber with a staircase to the attic. Above these rooms are vaults with troughs. The long entrance corridor has staircases under the arches of the bell tower. The central platform connects to the rooms of the side tents.

The facades of the cold temple present an interesting decorative composition. The three-axis scheme of the openings of the square has vertical divisions in the form of pilasters. The facades are divided into two tiers by a cornice with crackers. A similar cornice completes the walls of the square. The half-domes have round openings. The door frames and pilasters are decorated in the style of Vyatka Baroque. The profiled frames of the openings have sandriks with rosettes. Elements resembling the letter 'S' alternate with 'triglyphs' on the pilasters.

The decoration of the second tier of the Nicholas Church is characterized by originality. The corner pilasters have decorative overlays. The pilasters are set on pedestals with an X-shaped insert. The corners of the square are treated with rustication. The pilasters have a trapezoidal profile with snake-like notches. The door frames of the upper windows are adorned with columns on console volutes. The sandriks have profiled crowns. The upper strips of the door frames with crackers have taken on the significance of archivolts. Below the door frames are strips with rosettes.

The three-part divisions of the eastern wall of the square resemble paintings with profiled frames. The central painting is highlighted by a pediment. The decor of the altar apse corresponds to the lower tier of the square. The facade decoration of the light octagons anticipates the modesty of architecture from the late 18th to early 19th centuries. Smooth pilasters and simple door frames are used here. Baroque details are combined with classicist elements. The roof of the octagon transitions into a skirt of the finial with a cross.

The facade of the bell tower represents a type of late classicism construction. The monumentality of the lower tier is emphasized by a frieze with triglyphs. The axes of the sides of the base are revealed by locks and pediments. A pattern resembling an 'eared' door frame is applied to the pylons. The transition to the middle tier of the bell is made through an attic half-tier. The upper tier is designed as a rotunda with columns. The columns support an entablature with a cornice. A spire is installed on the roof.

The walls of the refectory have a three-part division with risalits and a central section. The windows are decorated with door frames and sandriks. The facades of the transition had entrances that have been lost. In the cold temple, wall paintings in grisaille technique have been preserved. On the vaults, there are coffered panels with flowers, and on the walls, columns with capitals. The painting has poorly preserved and is half washed away.