One of the most remote churches in this area is located 7 km from the village of Tumany, in an abandoned village. The terrain around the church is complex, with ravines and folds in the landscape, and the forest closely approaches the building, creating an atmosphere of neglect. This small church is in the Russian-Byzantine style, with the massive forms and decor characteristic of such churches. It was built according to a model project for a stone church for 550 people from K. A. Ton's album. The parish was formed from villages that previously belonged to the Nikolaev church of the village of Loban, and it was opened by the decree of the Vyatka Spiritual Consistory on December 23, 1859, with the blessing of Bishop Agafangel on April 8, 1860. The first wooden church with a single altar in honor of the Moscow Miracle Workers Peter, Alexius, and Jonah was built with the funds of the parishioners in 1861 and consecrated that same year. In 1872, the construction of a stone church began on the same site, completed in 1876, and the consecration took place on February 21, 1880.

The architectural composition of the church includes a two-light "octagon from the ground" with shortened diagonal sides. A large semicircular apse with a gable roof adjoins the eastern side. Above the roof, a massive dome rises on a cylindrical drum with twelve openings. The three-tiered bell tower is connected to the church by a refectory, which has two axes of openings. The rectangular pedestal tier of the bell tower repeats the decorative forms of the octagon. Its covering consists of two intersecting semi-cylinders, and the belfry is topped with a flattened faceted dome.

The facade of the church is typical for this style, with an arch motif with a keel-shaped point, repeatedly appearing at all levels. The arches at the ends of the octagon and the base of the bell tower have a multi-row semi-circular archivolt. The window frames of the apse, refectory, and the tier of the bell tower are elongated and decorated with panels with pointed frames. There was once facade painting in them, of which only outlines remain. The external painting has survived in the plane of the false window of the altar apse. Decorative panels combine with the round windows of the second level of the bell tower, marking the center of the facade's zakomaras. The edges of the belfry are adorned with an arcature belt, corner pilasters, and profiled imposts that transition onto the pilasters and divide them in the proportion of the golden section. The three-part windows on the southern and northern facades of the octagon are expressive. Traditional "eight-pointed" crosses are installed on the domes. The runic of the western portal and the open porches in front of the side entrances of the church have been lost.

The interior space of the church is covered with an eight-bay vault, smoothly transitioning into the dome of the light drum. The bases of the bays are reinforced with formwork from the upper light windows. The combination of formwork creates a rich relief surface of the vault. Above the openings of the drum, a chain of small formwork supports the central dome. The cylindrical vault of the refectory continues into the apse and ends with a conch. The lower tier of the bell tower is three-part, with a passage-narthex and chambers on the sides. In the northern chamber, there is a staircase to the upper tiers, and in the southern, a utility room and storage.

In the interior, the upper part of the iconostasis frame has been preserved, executed in an eclectic form with neo-baroque motifs. Oil painting, characteristic of provincial wall paintings in the Vyatka province in the second half of the 19th century, is done in a late academic style with primitive features. The color scheme predominates with rich blue, green, and ochre tones. Compositions and cartouches, partially peeling, are placed on the walls and vaults. According to the artist's autograph, the church was painted by A. G. Zagvozkhin.