According to the inscription on the wooden altar cross, a wooden church existed as early as 1656. The warm church was consecrated in 1735, and the cold one in 1837. The bell tower and porch underwent significant reconstruction in 1830 and 1860.

The Meeting, one of the twelve major feasts, is established in honor of the meeting in the Jerusalem temple of the infant Jesus, brought by his parents on the 40th day after his birth for the rite of dedication, with the righteous elder Simeon. In Christian tradition, this event symbolizes the meeting of the Old and New Testaments.

The Meeting Church was built in 1731. Its architecture combines late Russian Baroque, which came to Vologda, and traditional Russian ornamentation of the 17th century. The main part of the temple is a tall cube topped with five domes on thin drums, with a refectory, warm church, and a bell tower and porch connected on the west side. The facades are adorned with a wide cornice featuring decorative brickwork in the form of bracket-like supports. This same motif is used on the drums of the domes, the facade of the refectory, and the three-tiered bell tower. The corners of the building are decorated with paired pilasters. Under the cornice, on the pilasters, window frames, and pediments, there are inserts of glazed decorative tiles, which is a unique detail for Vologda churches of that time. The rich window frames combine motifs of Russian ornamentation with new forms that entered Russian architecture during the Petrine era, such as 'torn pediments.'

Several famous icons originate from the Meeting Church, which are now housed in collections of Russian museums. Of particular interest from an art history perspective is the 16th-century icon 'The Descent from the Cross,' kept in the State Tretyakov Gallery. The painting style of this icon is distinctive, flat, and graphic, with liquid blended local colors filling strictly outlined cells, similar to ancient Russian cloisonné enamels. The colors shine like in the Novgorod school, but the lyricism of the work, uncharacteristic for Novgorod, indicates local origin. The similarity to such outstanding works of ancient Russian painting as 'The Descent from the Cross' from the collection of I. S. Ostroukhova, 'The Descent into Hell,' and 'The Lamentation,' all from the State Tretyakov Gallery, as well as 'The Beheading of John the Baptist' and 'The Last Supper' from the Kyiv Museum of Russian Art, has led some researchers to suggest that all these icons were created in the Russian North, rather than in Nizhny Novgorod, as previously thought. The temple icon of the church 'Meeting' from the 16th century was clearly created under the influence of the Moscow school.