The Manifesto on the Freedom of the Nobility, issued in 1762, freed nobles from mandatory military or civil service. This led to active construction of estates in the province. Tishinin, upon retiring, began to arrange his estate on the picturesque banks of the Volga, where his village of Manshino had previously been located.

The oldest building of the estate is the single-domed, single-apsed church of the Tikhvin Mother of God, which has a refectory and a bell tower. Its history of creation is not entirely clear, but it is generally believed to have been built in 1763-1764. Some researchers attribute the design to the famous St. Petersburg engraver Mikhail Ivanovich Makhaev, believing that the church was modeled after the Semyonovskaya church in St. Petersburg. However, in the correspondence between Tishinin and Makhaev, only a "dilapidated church" and an "old bell tower" are mentioned. Archival materials contain a testimony from Tishinin's son-in-law, A.O. Kozhin, who claims that the church was built in 1757. The 1750s are also indicated by some common features between the Tikhvin church and the Trinity church in the Pod'yablonny pogost, built in 1750.

In anticipation of Empress Catherine II's visit in the mid-1760s, Tishinin invited architects and artists to renovate existing buildings and construct new ones. At that time, the village church was adorned with porticos, plaster moldings, and window grilles featuring the owner's monogram. In the 1780s, a three-tiered bell tower in the classical style with a spire was built at the western entrance to the refectory.

The architectural composition of the Tikhvin church is characteristic of Yaroslavl estate churches of the mid-18th century. The main volume of the church, a tall square, elongated along the north-south axis, serves as the base for an octagon with a decorative dome on an octagonal lantern. To the east, a two-light apse adjoins, and to the west, the winter church, refectory, and three-tiered bell tower. The northern and southern entrances are framed by portals with columns on high pedestals. A baroque entablature enhances their solemnity. Above the portals are large semi-circular windows flanked by pilasters. The corners of the square are accentuated by rusticated pilasters, topped with a cornice and tympana. The northern and southern facades are decorated with moldings in the form of wreaths and garlands. Baroque motifs, pilasters, and glazed tiles are used in the decoration of the octagon.