The exact date of the original church's construction is unknown, but it already existed in 1422, as the monastery was founded with an existing temple. According to the Inventory Book of 1676 and 1683, in 1679 both wooden Transfiguration churches and the bell tower with 10 bells burned down, and in their place, a single wooden church was built. In 1689, the construction of a stone cold church in the name of the Transfiguration of the Lord God and our Savior Jesus Christ, as well as a bell tower, began. The stone five-domed Spaso-Transfiguration temple was completed in 1696 and consecrated on August 6, 1697, by Archbishop Alexander of Veliky Ustyug and Totma.

The architecture of the temple resembles the Archangel Cathedral of the Mikhailo-Arkhangelsky Monastery, including the location of the built-in bell tower at the northwest corner. The difference lies in the more modest size and the abundance of locally produced tiles in the decoration of the Spaso-Transfiguration temple. In 1756, the vestibule and altar vaults were adorned with picturesque images. On the western wall of the church, under the vaults, there are wooden choirs typical of cathedral churches. Under the choirs, in two frames, it is written: the first mentions the establishment of a girls' monastery in 1422, which existed for 342 years and was transferred to the Ivanovsky Monastery in 1764; the second states that in 1789 the church was founded as a girls' monastery in the name of the Transfiguration of the Lord under the abbess Anisia and consecrated on August 6, 1697, by Archbishop Joseph.

The iconostasis in front of the altar, fully carved and gilded, was erected in 1697 at the request of Archbishop Alexander. It impresses with the richness of ornamental decoration, complex profiled arches, and columns with capitals. The columns, adorned with leaves and grape clusters, as well as rosettes and curls, are particularly striking. Like many iconostases in Veliky Ustyug, it features clear horizontals and verticals with a central axis emphasized by the royal gates and a stepped arrangement of icons. The structure is topped with an image of the crucified Christ. Among the icons, the ancient image of the Transfiguration of the Lord stands out, which was restored at the end of the 17th century. The other icons date back to the first half of the 18th century. The iconostasis also features works with multi-figure compositions inspired by engravings from the Bible of Piskator. The ordered forms of the iconostasis and the volumetric images of the icons testify to the innovative approach of both the client and the performers.