The Assumption or Divine Church is an outstanding example of ancient Russian architecture from the early 17th century. It is located on the territory of the Alekseevsky Monastery and was built in 1628 under the abbot Misaile. According to local tradition, the church serves as a monument to the defenders of the monastery who perished during the Time of Troubles. The first mentions of it appear in land books from 1628 and 1631. In the second half of the 17th century, the building was adapted for the residence of the abbot.

In 1905, the church was renovated with funds from N.N. Voityagovsky, and a stone porch was added. In 1918, it was included in the list of architectural monuments requiring inspection and restoration. After the monastery was closed in the 1920s, the building was used for economic purposes.

The architecture of the church is characterized by simplicity and monumentality. The central part is a small volume on a high base, topped with three tents. Two small side tents are shifted eastward relative to the large central one, giving them almost independent significance. The main tent, separated by a vault from the interior space, was originally likely open and functional. The small tents, externally similar to the main one, are decorative elements located on cylindrical vaults. Beneath the church is a basement, and to the east, it is completed with three semicircular apses. On the western side, a two-story refectory adjoins the temple, featuring a massive quadrangular pillar in the center.

The decorative adornment of the Assumption Church has been partially preserved. The northern and southern walls, as well as the refectory, lack decoration. The eastern facade is the most interesting: an arcature-columned belt runs along all the apses, and the columns are topped with double keel-shaped arches. Each column is adorned with two melons. This belt resembles the treatment of Moscow churches from the 15th and 16th centuries and the arcature of the Rostov Assumption Cathedral. The interior of the church has been poorly preserved: the frescoes are lost, and the iconostasis is absent. The earliest fresco dates back to 1680 and 1684. In the 18th and early 20th centuries, it was repeatedly updated. Initially, the church had a two-tiered iconostasis, which was replaced by a single-tier one in the mid-19th century.