Hidden in a small Novovorotnikovsky lane between two major streets, this church stands out with its bright red facades. Its interiors, created by the best masters of their time, have remained intact since the early 20th century.

Since the mid-17th century, this area was known as "Novye Vorotniki," and the main church was called "Novy Pimen," reminding of its previous location near Tverskaya Street, at the intersection of Vorotnikovsky and Staropimenovsky lanes, where the church of "Old Pimen" stood until 1931. Here lived the gatekeepers, the porters at the city gates. As the city grew, they were relocated beyond the Zemlyanoy Val to free up space for the musketeers. In their new location, they built a church in 1672 in honor of the Holy Trinity with an altar dedicated to Pimen the Great, in memory of the former temple. Soon, the new church adopted the name of the altar and entered the history of Moscow under this name. After the fire of 1691, the construction of a new stone Pimen church began, completed in 1702.

The modern building is a combination of parts created at different times. Its core, the main church from 1702, is designed in the Naryshkin Baroque style, with window frames resembling "torn pediments." It had a refectory, expanded in the 1770s, and by the end of the 18th century, a second altar in honor of the Vladimir Icon of the Mother of God appeared in it.

Local legends exist about the creation of the Vladimir altar. It is said that a blind boy, playing near the church, felt something in his hand. At that moment, dust and sand got in his face, and as he rubbed his eyes with that hand, he suddenly regained his sight. In his hand was a small stone icon of the Vladimir Mother of God, in honor of which the new altar was created.

The expansion of the church continued into the 19th century. In 1825, the existing fence was erected. From 1881 to 1883, a new three-tiered bell tower was built, and the refectory was completely rebuilt: according to the project of architect K.M. Bykovsky, its altars were expanded, and the new walls were decorated in the neo-Russian style, with large kokoshniks, domes, and frames imitating the torn pediments of the early 18th century.

The most significant changes to the church's interiors occurred between 1897 and 1907. According to the project of architect F.O. Shekhtel, two-tiered marble iconostases were created, adorned with columns and carvings featuring Christian symbols, palm branches, grapevines, and the monograms "Alpha and Omega." In the main church, a copy of the fresco by V.M. Vasnetsov from the Vladimir Cathedral in Kyiv was added.

Some of the furnishings of the Pimen church were lost in 1922 during the campaign for the "seizure of church valuables," however, the church itself was never closed during the Soviet era, which allowed its decor and interiors to remain untouched. From 1927 to 1932, the regent of the church choir was the future Patriarch of Moscow and all Rus', Pimen. Today, the Church of St. Pimen the Great in Novye Vorotniki is a unique monument of architecture, history, and culture, accessible to all and excellently preserving its invaluable treasures.