The ensemble of the churches of Nikola Mokry includes two stone temples. The cold five-domed church with a bell tower was built on the site of an old wooden one between 1665 and 1672. On the right side of the porch, in an extension with a tented roof, a chapel was arranged in honor of Alexius, the Metropolitan of Moscow, and on the left, in honor of the Great Martyr Barbara. The patrons of the construction were merchants Afanasy Luzin and Andrey Lemin, as well as Yaroslavl townspeople Fyodor Vymorov and Stepan Tarabaev. The warm single-domed church, dedicated to the Tikhvin Icon of the Mother of God, is located south of the Nikola church. It was built in 1686, and the chapel of Basil the Great was consecrated in 1694. The funds for the construction of the church were provided by merchants Klim and Semyon Luzin. The architecture of the Nikola Mokry church is typical for Yaroslavl town churches. The five-domed four-pillar cold church without a basement is surrounded on three sides by a low closed one-story gallery. The northern facade is adorned with tented volumes of the Barbara chapel and the bell tower. Initially, the church had a cross-ribbed ceiling. The architects aimed to draw inspiration from the best examples of Yaroslavl church architecture of that time: the overall composition resembles the church of John Chrysostom in Korovniki, the shapes of the bell tower echo the bell tower of the Church of Elijah the Prophet, and the design of the tent's dormers is borrowed from the bell tower of the Church of the Nativity of Christ. In the late 17th century, the ensemble was richly decorated with polychrome tiles, and the altar windows of the Nikola church were adorned with ornate tiled frames. In the 1690s, porches with small octagonal tents, richly decorated with colored ceramics, were added to the western facades of both churches. To this day, the southern porch, located at the church of the Tikhvin Mother of God, has been better preserved. The church was illuminated by three large copper chandeliers with eagles, crafted by Dutch masters. Luxurious carved prayer places from the mid-17th century, intended for Tsar Alexei Mikhailovich and Patriarch Nikon, stood by the pillars and are now located in the Church of Elijah the Prophet. The porch of the church is adorned with a beautiful wrought-iron grille from the 17th century, consisting of S-shaped links ending in floral buds. The grille is made with great decorative taste and is a unique monument of applied art.

The wall paintings of the Nikola Mokry church were created in 1673-1674 with funds from the parishioners. According to the petition of Semyon Luzin to Tsar Alexei Mikhailovich, Yaroslavl masters Loggin Sidorov, Yermolai Fedorov, Timofey Fedotov, Ivan Anufriev, Fyodor Savin, Andrian Ivanov, Semyon Kozlov, Karp Mikhailov, Fyodor Karpov, Dmitry Grigoriev, and Vasily Ananyin participated in the creation of the wall paintings. In the 19th century, the paintings were restored twice using glue technique: in 1853 and then in 1895-1896 by Moscow artists S. Chirikov and Epaneshnikov under the patronage of the Moscow Archaeological Society. In the 1970s and 1980s, restoration work on the wall paintings in the Alexeyevsky and Barbarian chapels was carried out.

The Nikola Mokry painting became an important work in the history of the Yaroslavl school of wall painting. Its carefully developed symbolic-compositional scheme, a new method of storytelling through continuous horizontal friezes, rich ornamentation, and the use of engravings from the Bible by Piskator as an iconographic model had a significant influence on the development of Yaroslavl monumental art in the second half of the 17th century. The ensemble of paintings in the Nikola Mokry church, consisting of 660 narrative panels, has not survived in full; the paintings of the vaults of the western porch have been lost. In the central dome, there is a fresco of the "Pantocrator," surrounded by a chronicle with the text of the troparion "To the Uncreated Image." In the drum, 16 forefathers are depicted in two rows. The evangelists are painted on the sails, their symbols are placed on the frontal parts of the sails. On the eastern under-dome arch, the Old Testament Trinity is depicted, and on the western, "The Savior on the Cloth," supported by flying angels. In the domes of the four side drums are represented: in the southeast, "God Sabaoth," in the northwest, "Christ Emmanuel," in the northeast, "John the Baptist, Angel of the Desert," and in the southwest, "The Mother of God, the Sign." Between the windows of the side drums are depicted Old Testament prophets. On the supporting arches of the northwest drum, the scenes "Healing of the Blind" and "Planting of the Honorable Trees," on the arches of the southwest, "The Unbelief of Thomas" and "The Half." On the eastern vault above the altar is depicted "The Fatherland," on the western, "Wisdom builds herself a house," on the northern, "Healing of the Mother-in-law of the Apostle Peter" and "The Parable of the Sower," on the southern, "Blessing of the Children" and "Expulsion of the Merchants from the Temple." On the eastern supporting arches behind the iconostasis are painted archangels and angels with censers, on the central and western arches, the 12 apostles, on the northwest and southwest arches, apostles from among the seventy. The pillars of the church are divided into four wide tiers, the lower of which is ornamental. In the upper tier of the western pillars are depicted righteous princes and kings: Constantine and Helena, Vladimir and Olga, Boris and Gleb, Vsevolod of Pskov and Yaroslav the Wise; in the middle, warrior martyrs, in the lower, Russian saints, including Tsarevich Dmitry of Uglich, Dmitry Donskoy, Mikhail of Chernigov, Yaroslav princes Fyodor, David, and Konstantin, Konstantin, Mikhail, and Fyodor of Murom, Dovmont of Pskov, Mikhail of Tver, and Yaroslav miracle workers Vasily and Konstantin. On the altar pillars are presented the fathers of the church: Dionysius the Areopagite, Ambrose of Milan, John the Merciful, Cyril of Alexandria, and others. The painting of the pillars is distinguished by a high level of execution. The northern and southern walls of the church are divided into seven tiers. The four upper tiers are narrative, the fifth is an ornamental frieze, the sixth is a chronicle of the construction of the church, and the seventh is a cornice of towels. The paintings of the narrative tiers are dedicated to the church theme, the life and miracles of Nicholas the Wonderworker, which are illustrated here in 70 large panels. The fourth tier of the southern wall is occupied by the depiction of the seven ecumenical councils. The entire western wall is taken up by a grand depiction of the Last Judgment. On the eastern wall behind the iconostasis are painted the Passion of Christ, above the central altar, "Crucifixion" and "Seven Sacraments." The upper parts of the window slopes are complemented by bust images of saints in oval medallions, entwined with floral buds. On the northern and southern walls, ascetics of the universal and Russian church, on the western wall, cave miracle workers. In the arches of the windows, images of Sabaoth, Christ the Good Silence, angels, and cherubim. In the arches of the entrance portals, Deesis from medallions, "The Vigilant Eye" and "Do not weep for me, mother." In the conch of the central altar, the liturgical composition "The Great Entrance," in the apse, the hierarchs of the universal and Russian church in two registers: in the upper, full-length, and in the lower, in round medallions. On the western wall, compositions "Old Testament Trinity" and "Eucharist." In the conch of the altar, the scene "Behold the Lamb," in the upper register of the apse, scenes from the liturgy, in the lower, martyrs, hierarchs, and saints in full length. On the western wall of the altar, bishops and saints in medallions. In the conch of the deacon's room, the scene "Descent into Hell," in the vault, 7 paintings of the resurrection of the dead from the Old and New Testaments. In the apse and on the western wall, 28 cave miracle workers in medallions, among them, "Alypius the Iconographer of the Caves." In the arch of the central window is placed a fresco of "The Mother of God of the Caves," above the portal, "The Stoning of the First Martyr Stephen." In the vault of the northern Barbara chapel, the composition "Wisdom of God." On the walls in four tiers is illustrated the life of Saint Barbara. In the conch of the chapel altar, the scene "Rejoice in you," in the apse and on the window slopes, images of 26 martyrs. In the vault of the southern Alexeyevsky chapel, the composition "King of Kings," on the walls in three tiers, scenes from the life of Metropolitan Alexius. In the conch, "Praise to the Mother of God," above the conch, "The Queen stands forth," in the apse, prophets in medallions. The vault of the porch is filled with scenes from the Old Testament. In its northern knee, "Days of Creation" are illustrated in circles and scenes from the life of Adam and Eve, in the southern, "The Story of Joseph and Moses." The painting of the western wing of the porch was lost in the 19th century due to the reconstruction of the vault. In the lunettes of the inner walls of the porch are placed multi-figured symbolic-didactic compositions: "Assembly of All Saints," "Apostolic Preaching," "Symbol of Faith," "Our Father," "Rejoice in you," "The Mother of God, more honorable than the cherubim." Above the entrance to the northern chapel on the porch is painted "The Mother of God, the Sign," above the entrance to the southern, "The Savior on the Cloth," supported by flying angels. On the slopes of the porch windows and between the windows, figures of Old Testament characters: forefathers and prophets. In the western wing, scenes from the "Apocalypse." The decorative and figurative structure of the Nikola Mokry painting is imbued with a spirit of special solemnity. A sense of great style reigns here in everything: both in the very program of the painting, claiming a representative universality, and in the remarkable tectonic connection of the painting with the architecture of the church. In the 19th century, the church of Nikola Mokry was transferred to the military department and from 1892 was the regimental church of the stationed in Yaroslavl Fanagoria regiment. In 1929, the church was closed. In 1992, the church of Nikola Mokry was transferred to the Russian Orthodox Church.