The church is located in the center of the city, not far from the shore of the Big Pond. Its northern facade faces the main street, which forms a small square, while to the south, the city garden adjoins the building.

The decision to build the church was made on July 15, 1888, on the day of the celebration of the 900th anniversary of the Baptism of Rus. It was signed by parishioners in the presence of the rector, the police chief, representatives of the Kirs factory management, and the village elder. The parishioners committed to contribute 2 kopecks from each earned ruble for the construction of the new stone church monthly for nine years, accumulating up to 2300 rubles a year. A condition was the desire to name one of the chapels in honor of the holy equal-to-the-apostles Prince Vladimir. The construction of the church was entrusted to a cooperative of Nizhny Novgorod stone masons and, according to some sources, took place from 1894 to 1911. The bricks were made at the factory's ceramic plant under the guidance of master M.P. Yurkov.

The consecration took place on October 14, 1915, on the eve of the main feast day. The central altar was consecrated in honor of the Intercession of the Virgin Mary, and the side altars in honor of Paraskeva Friday and Prince Vladimir. The bell tower had five bells, cast in Slobodsk, the largest of which weighed 49 poods and 16 pounds.

The author of the church's design is not documented. According to local historians, it could have been a foreign architect, but an analysis of the monument's composition points to I.A. Charushin. According to another local legend, A.M. Vasnetsov participated in the creation of the iconostasis.

During the Soviet era, from 1938, the building was used as a club named after the XVII Congress of the VKP, and later as a House of Culture and museum of the 'Kirs Cable' factory. During this time, the domes and small tents were lost, and the layout and number of floors of the building were changed.

On August 1, 1990, the church was returned to the parish community. In the early 1990s, restoration work was carried out, returning the monument to its original appearance. The brick walls were covered with lime mortar and whitewashed, and the interior was plastered. There is a semi-basement floor for household needs.

The architecture of the church is executed in the Russian style, imitating stone architecture of the 17th century. It is a five-domed three-altar church with a tented bell tower and small decorative tents. Two similar churches, related to the work of I.A. Charushin, have been described in the publications 'Architectural Monuments of the Kirov Region.' The central volume of the church is highlighted by the upper tier of the square with an expressive five-domed structure. The small tents give a pyramidal character to the silhouette of the church. The eastern facade is formed by the semicircles of the altar apses. The high tented bell tower serves as the dominant accent of the composition. The western part of the bell tower is complemented by a porch with a high gable.

The facade decor of the church corresponds to the overall style of the monument. Decorative elements are evenly distributed across the walls, highlighting the corners and openings. The lower tier of the walls is divided by pilasters with large widths. The upper third of the wall is separated by a belt that wraps around the building. A cornice with large dry loaves and a high plinth complete the horizontal division of the facades. The openings are decorated with columnar frames with keystone arches. The capitals of the columns are connected to the belt that unites the openings. In the plasticity of the facades of the square, false zakomars and kokoshniks play an important role. The frieze part of the walls is filled with sandriks framed by columnar frames. The corner pilasters are divided by grooves, and in the tympana of the zakomars, round panels are placed. The cornice of the square is highlighted by dry loaves. The decor of the bell tower emphasizes its tiered structure. The walls of the second tier are pierced with windows in columnar frames. The corners are secured with pilasters with widths. The third tier of the ringing is based on four pylons with high arched openings. The arches are completed with keystone archivolts with large dry loaves.

In the facade planes of the pylons, stepped widths with cross-shaped niches are embedded. The upper tier of the ringing is pierced by high arches with keystone archivolts. The corner supports have developed imposts. The base of the tier is filled with widths. The supports of the belfry are treated with widths and bear arches with weights. The cornice of the belfry continues the cornice of the tents. The internal space of the church is formed by four pylons supporting the walls of the square. The space of the church is connected by arched openings with the chapels and refectory. The chapels and refectory are covered with cylindrical vaults. The corner sections of the plan have cross vaults. The tents and belfry have cylindrical vaults. Above the narthex in the lower tier of the bell tower, there is a trough vault. The dimensions of the monument are: length 52 m, width with porches 34 m.

The Church of the Intercession occupies a unique place in the city's development as an important architectural dominant, shaping the composition of the central part of Kirs.