The Church of the Assumption is a remarkable example of a classicist temple with expressive architecture, including a rotunda on the main square. A feature of this type is the compact five-domed structure topped with an egg-shaped dome, as well as developed porticoes on the side facades. All volumes, including the two-light, semi-circular apse, rectangular refectory, and two-tiered bell tower, are traditionally oriented along the longitudinal axis. The symmetry is only disrupted by a late porch-transition between the refectory and the bell tower. In the main volumes, the lower openings are rectangular, the upper ones are round, and the tiers of light on the facades of the refectory and apse are separated by a belt. In the intercolumns of the high arched windows of the rotunda, paired half-columns are installed, supporting the entablature. The high drums of the domes are decorated with pilasters and small columns. The square tiers of the bell tower are pierced with pointed arches framed by pilaster porticoes. The small dome is topped with a miniature cupola, and the lower tier of the bell tower is covered with a cross vault. The main volume is covered with a dome, the drum of which rests on rounded trompes, the apse is covered with a conch, and the refectory has a system of cross vaults on supporting arches resting on two cruciform pillars. The painting in the main volume and refectory was done in the first third of the 19th century using grafia, partially lost in the refectory. This is one of the outstanding works of the Palech-Shuya circle, combining classicist forms and an archaizing style of painting in the spirit of ancient Russian art of the late 17th century. In the interpretation of faces and backgrounds, the influence of baroque is noticeable. Iconographic traditions are manifested in the careful elaboration of garments. Bright examples of this style are the paintings on the eastern wall of the apse and the scene of the "Last Judgment" in the refectory, following ancient Russian iconography. The details are meticulously worked out, and the figures are elongated with small heads. Grisaille decor plays an important role in the ensemble, giving the space clarity and completeness. The color palette of the paintings is impressive: against a pale green background, white, ochre, and light purple grisaille stand out. The compositions are dominated by rich tones: dark cherry, violet-pink, dark shades of ochre, and turquoise. The halos are gilded.

Today, the church has been restored. On December 25, 2007, the church and the main altar in honor of the Assumption of the Blessed Virgin Mary were consecrated. On July 24, 2008, on the day of the memory of Saint Equal-to-the-Apostles Princess Olga, the altar of the right chapel in honor of the Uncreated Image of the Savior was consecrated. In the same year, on the feast of the Entry into the Temple of the Blessed Virgin Mary, the altar of the left chapel in honor of the Nativity of the Blessed Virgin Mary was consecrated by the archbishop. Services are held daily.