One of the outstanding examples of richly decorated 17th-century architecture in Borisoglebsky Monastery is the Church of the Meeting, located above the northern Water Gates. In literature dedicated to the monastery, it is dated to 1680. However, according to the monastery archives, the Meeting Church was built during the era of Peter I and consecrated in 1692. Thus, the construction of the temple should be attributed to the early 1690s. The late-century style is evident in the appearance of the building: the traditional three-part division of the walls by pilasters disappears, the northern and southern walls are divided by pilasters into two sections, while the other two walls have no divisions. The upper part of the structure is adorned with a wide arcature belt with elegant columns with beads, and the elongated window openings are framed by ornate keystone lintels.

The high cubic volume of the temple rises above the gates with two asymmetric passages and small flanking towers. The towers enclose the porch and the gates, concealing the connection of the church with the monastery walls and linking the fence with the temple. The composition is carefully thought out, and the temple appears light and slender. On the eastern side, there is a rectangular apse. The porch at the western wall is executed in a somewhat archaic style for the late 17th century. In the western gallery, there is a staircase leading inside the temple.

The decorativeness of the Meeting Church is emphasized by the rich ornamentation of the gates and the northern gallery. The passages of the gates are adorned with arched belts with "hanging stones." Hanging arches also decorate the porch, where iron weights add emphasis to the decor. The pattern of the gates and gallery is made of profiled brick and occupies the entire wall. The low arcade is surrounded by a ribbon of wide bricks with a cornice of brick towns, curbs, and niches.

The Meeting Temple is crowned with five elongated drums with bulbous domes. The central light drum is bulkier than the corner ones, and its decor repeats the arcature belt of the temple. Similar ornaments adorn the drums of all the churches in the ensemble, except for the Cathedral of Boris and Gleb. On the other four blind drums, the belt of towns descends down with small arches. Descriptions from the 18th century note that the church's "domes are covered with wooden scales, with iron crosses, and it is covered with shingles." In 1775, "these domes were made anew on iron rafters and painted azure."

From the porch, there are two entrances to the temple with magnificent perspective portals. Four pairs of columns with numerous beads, burrs, and melons are adorned with rich carvings, each pair having its unique relief pattern. The column-free interior of the temple is covered with a trough vault, resting on decorative pairs of half-columns in the middle of the wall. The half-columns rest on high pedestals. A similar architectural technique can be seen in the Resurrection Church of the Rostov Kremlin, built slightly earlier than the Meeting Temple.

The assumption that the Meeting Church was two-columned was not confirmed upon the opening of the floor. The altar barrier in the form of a solid stone wall, rising to the vaults of the temple, was hidden in the 18th century by a large wooden iconostasis. Three entrances to the altar are decorated with columns with simplified capitals. Above the central and side portals, small 17th-century frescoes have been preserved.

The central portal, the Royal Gates, was fully painted, but was likely repainted in the 18th century. Under the later restoration paint, a beautiful floral ornament from the 17th century was revealed, covering the columns of the portal. Above the archivolt of the portal in a rectangular frame, a fresco depicting two winged angels with ripidia in white ornamented garments has been preserved.

The columns of the northern gates leading to the altar are also covered with ornamentation, and above the portal, there is an image of the archangel with two seraphim. Above the southern portal leading to the deacon's room, there is an image of an angel with a cloth depicting the Savior Not Made by Hands. The entire composition is executed in brown and ochre tones.

The harmonious and richly decorated Church of the Meeting above the Water Gates is rightfully considered one of the most beautiful gate churches of the 17th century in Russia.