The first wooden church of Flora and Lavra on the Sholge River is mentioned in the records since 1618. The river that gave its name to this place has now turned into a small stream, dividing the village into two parts. The word "sholge" literally means "mast," and metaphorically, "mastman," which is related to the type of forest used in shipbuilding. The brick, two-story, five-altar church is the second oldest architectural monument in the area and was built with the funds of parishioners. The lower warm church was consecrated on January 10, 1790, and the main altar in the cold upper church on September 19, 1799. In the 1870s, the side facades at the level of the lower light were completely built up with additional chapels, significantly increasing the size of the building and its capacity, but disrupting the integrity of the architectural appearance characteristic of the cult monuments of the Ustyug school of the second half of the 18th century. At that time, the refectory was extended, connecting it with the separately standing bell tower by a covered passage.

In 1887, with the funds of V.I. Ivanovsky, the interior of the refectory of the upper church was repainted, with the participation of the painter Kuznetsov. The church was used for its original purpose until its closure in the 1930s, after which its premises housed a grain warehouse and workshops of the collective farm "Budyonovets." The bell tower was dismantled, and currently, the monument stands empty.

The volumetric-spatial solution of the Trinity Church is traditional for two-story cult buildings with tiered completion and a longitudinal planning scheme. The stepped placement of the five-sided altar apses, weakly expressed half-domes of the square base, and the high roof with a steep rise, on which three decreasing in height and mass octagons are installed, give the monument an expressive silhouette composition. The high massive bell tower created a second vertical, emphasizing the lightness of the crowning parts of the main temple core.

The interior space of the lower church, with a suite of interconnected halls in the center, represents a complex combination of old and new parts of the building. The expanded windows of the square base and the refectory have been transformed into openings connecting the northern and southern chapels with the main premises. In the southwestern part of the refectory, a broken partition highlights the altar of the fifth chapel. To the west, the planning axis is limited by a blind chamber of the lower tier of the bell tower, which housed a watchman's room. Entrance to the church is through two side openings in the vestibule, connecting the bell tower with the refectory.

The layout of the upper church is more compact. In the center is an elongated square base covered by an 8-bay vault with narrow diagonal faces. The development of the apse is due to the size of the church room located beneath it. The spacious two-column refectory connects with the church through three arched openings. Two staircases from the southern and northern facades lead to the second tier of the bell tower, which serves as the temple's vestibule. Above the new chapels and the refectory of the upper church, flat wooden ceilings are installed, while the other rooms of the church are covered with barrel and cylindrical brick vaults with formwork. The facade decor includes Baroque flat motifs. The three-part division of the walls of the square base is executed with "Tuscan" pilasters on pedestals with vertical strips. The corners of the square base and apses are decorated with pilasters. The window frames are complemented by two types of eyebrows, ordinary and wavy, as well as panels under the openings of the upper light. The cornices are adorned with a belt of city brackets. The influence of metropolitan classicism is manifested in the simplification of individual decorative elements.

In 1983, by the decision of the regional executive committee, the Trinity Church was placed under state protection as a monument of local significance. Even in its distorted and neglected form, it has retained the Baroque dynamics of its artistic appearance and remains the main architectural dominant of the village.