The church, designed in the Russian style, combines elements characteristic of K.A. Ton's projects and a composition of the dome dating back to the 16th-17th centuries. The central part of the church is a square temple topped with a pyramid of two tiers of kokoshniks with a scaly bulbous dome on a cylindrical light drum. The side chapels and the western porch are rectangular, while the three-apsidal altar to the east creates a cross-shaped plan composition. The building stands on a low pedestal. Its lower tier is completed with a three-part entablature and a low attic, which is supported above the pilasters that divide the facades into three parts. In the middle part, there is a rectangular entrance framed by a portal with a massive broken pediment, while the others have windows in similar surrounds. The apses also have similar windows that illuminate the altar. False windows are located on the side walls of the chapels and the porch. The square of the church is also divided into parts by two-tiered pilasters that frame the corners and support the three-part entablature. Large keel-shaped kokoshniks, three on the facade in the lower tier and two in the upper, have profiled outlines and are decorated with round panels. The cylindrical drum of the dome is adorned with arcature resting on pilasters and is topped with a three-part entablature. Inside the church, the octagonal space is covered with an eight-slope vault with a drum of the light dome. Wide arches connect the main space of the church with the altar, chapels, and porch. The altar is covered with a barrel vault with three conches to the east, the chapels with a transverse barrel vault with ribs, and the porch with a cross vault in the center and half-slope vaults at the ends.

The wall paintings are executed in late academic traditions at the turn of the 19th-20th centuries. The eight-slope vault is decorated with patterned strips along the ribs. In the corner medallions, the Evangelists are depicted with winged symbols, and in the three axial medallions, Marian themes such as "The Intercession," "The Assumption of the Virgin," and "The Mother of God - Queen of Heaven" are presented. On the faces of the octagon adjacent to the main apse, the "Annunciation" and "Entry into the Temple" are painted.

Three pre-altar iconostases, made in the 19th century in an eclectic style, correspond to the time of the church's consecration. The main iconostasis is three-tiered, with five panels, and the side panels recede at an angle. The panels are divided by pilasters: in the first and third tiers, they are paneled with ornamentation, while in the second, they are fluted. The tiers of the iconostasis are emphasized by entablatures. At the boundary of the first and second tiers, sculptures of six angels are installed. In the upper part of the iconostasis, there are raised icons. The side icons are framed with carved frames, and the icon of the Resurrection of Christ in the center is placed in an arched kiot with a carved cartouche. The royal gates are decorated with carvings featuring volute and leafy weaving motifs.