In the 1970s, the church housed a three-tiered iconostasis in the style of late classicism, created in the 1830s-1840s. The church, having two altars in the main volume, featured an unusual composition of the iconostasis. The larger northern altar corresponded to the main altar, while the smaller southern altar was dedicated to St. Anastasia the Great Martyr. The iconostasis consisted of six bays. The tiers with rectangular images in the lower row were adorned with round icons of the feasts, separated by entablatures with large cornices. These cornices were supported by columns in the lower tier, likely Corinthian, and in the second tier, by Ionic half-columns. Three bays in the northern part, relating to the main altar, had a symmetrical composition: at the center was the arch of the altar gates, above which was a taller icon of the third tier, crowned with an incomplete pediment. The altar corresponding to the chapel had two bays, with the gate arch shifted towards the southern wall. The central element of the iconostasis was a large icon in a kiot, emphasized by a semicircular projection of the entablature with a canopy and an incomplete pediment with a small round icon in the tympanum. The details of the carving, the coffered ceilings with rosettes on the slopes of the altar arches, modillons, palmettes, delicate spiral shoots of acanthus, vases, and garlands in the entablatures and above the altar entrances were characteristic of classicist decor. The single-tiered two-tier iconostasis of the northern chapel, created simultaneously with the main one in the 1860s-1870s, was supplemented with finials of a two-bladed keel shape for figurative icons. The wall painting, updated in the late 19th century with oil, also dated back to the time of the creation of the iconostases.