The church was founded in June 1772 with the blessing of Bishop Bartholomew and with the funds of parishioners. The chapel in the warm church, dedicated to Alexius the Man of God, was consecrated in November 1778. The main altar in the cold church in honor of the Trinity was consecrated on October 4, 1788. In 1852, according to the design of architect A.S. Andreev, the refectory was rebuilt with the addition of a new chapel dedicated to Guriy and Varsanofiy, the Kazan Miracle Workers, which was consecrated in February 1864. The separate bell tower was built in 1815. The last significant reconstruction and expansion of the warm church occurred in the early 20th century.

The composition of the church features a square base of the cold temple under a four-pitched roof, complicated by oval elements extending from the half-domes to the base. The square is crowned with two tiers of light octagons with baroque roofs and an onion dome topped with a forged cross. It seems that the roof of the square could have been raised during repairs, and the base of the lower octagon became hidden.

This affected the proportions of the square and octagons, where the latter lose in volume and lines. The flat volume of the refectory with a gable roof connects the temple with the verticality of the bell tower. The uniformity of the stepped tiers of the bell tower is compensated by a complex finish with an attic, skylights, a pedestal, and a short spire with a fluted base. The spire is adorned with a cross and an apple. The porticos that increased the volume of the lower tier of the bell tower have been lost.

The square of the cold temple, the oldest part of the monument, represents Vyatka Baroque. The architecture of the bell tower reflects the traditions of the first quarter of the 19th century. The refectory, as the latest part, is characterized by the pragmatism of form and decor.

The interior space of the church presents a complex planning structure, finally formed in the last period of reconstruction. The old part has preserved a five-sided altar and the square. The lower tier of the square is surrounded by new porches with northern and southern portals and two-column porticos. The window openings were expanded and turned into passages, uniting the space of the square. The reconstruction affected not only the warm church but also the cold temple. Between the warm church and the western facade of the square, a space the width of the refectory is left, resembling a narthex. The four-pillar space of the refectory has a symmetrical three-part structure of nine cells with barrel vaults on arches. The western part of the warm church is supplemented by four rooms, the largest of which is the vestibule. The transition from the temple to the bell tower is solved originally: instead of a corridor, a small interval between the bell tower and the refectory is connected by arches and a cross vault. The bell tower has a massive structure with four pylons and a high passage under a cylindrical vault. The absence of porticos on the lower tier impoverished the composition. The dimensions of the building are: length 64 m, width at the refectory 24 m.

The wall decor of the cold church and altar is executed in the baroque traditions of the local school but somewhat simplified. The walls are divided by pilasters, complemented by half-domes with a complex cornice. The window frames are decorated with sandriks with rosettes. The half-columns on the pedestals of the pilasters are interrupted by shelves, under which the profile changes to rectangular. The pilasters and frames of the altar are designed without rounding in the sandriks. In the tympana of the half-domes, there are icons with frames. The octagons have elongated openings with framed window frames. The facades of the refectory are decorated with simple frames, pilasters, and brick cornices.

The lower tier of the bell tower is decorated with rustication and pilasters flanking the arched passage and blind arches. The second tier is adorned with semicircular windows with false segments and balustrades. The corners of the tier are also decorated with rustication. The upper tiers for ringing have cubic proportions with arched openings.