The Entry into Jerusalem Cathedral is a late example of a two-column temple, executed in the traditions of the Kostroma architectural school of the second half of the 17th and early 18th centuries. In 1806, a refectory with a chapel of John the Warrior was added to it, and large pointed windows appeared in the drums. By the end of the 19th century, plaster decor, arched finishes of the frames, and an arcature belt under the cornice of the main volume and apses were added. A high two-light square, elongated along the longitudinal axis and covered with a four-pitched roof with five domes, is adjacent to a three-part apse under a high pitched roof, equal in width to it. The refectory with a gable roof, of the same height and width as the apse, is completed on the western facade with a pediment featuring a small semicircular window in the tympanum. The high rectangular windows of the upper light of the square are slightly recessed into perspective niches and framed with frames with pipe-like columns resting on consoles at the edges of the window sills, while the lower openings are slightly offset from the axes. The side entrances to the temple are shifted to the west and are not centered on the facades. The corners of the volume are secured with wide encircling pilasters, forming braces in the cornice, complemented by small ledges and teeth. Conditional braces are made in the cornice at the places of non-existent inter-window pilasters on the side facades and at the center of the eastern and western sides. The apse is decorated with three-quarter columns, single between the curves and double at the edges. Inside, two columns with rounded and braced corners, placed along the transverse axis of the square, support two transverse barrel vaults with ribs, reinforced by spring arches thrown onto the walls. Light rings of the domes, the central one placed between the columns, are cut into the vault without additional arches. In the apse, the conch has ribs, and in the refectory, a vaulted ceiling with ribs. The wall paintings are done in oil paints on a lime ground by an unknown group of masters, presumably in the early 20th century. All compositions and individual figures of saints are framed in figured plaster frames. The tiered arrangement of compositions on the walls of the temple is subordinate to the architectural divisions. On the vaults of the central and side naves, Old Testament scenes are depicted in frames shaped like quatrefoils. On the slopes of the spring arches, individual figures of saints, early hermits, and founders of monasticism are painted. The thematic composition of the murals covers events from the Old and New Testaments, including an extensive pantheon of Eastern and Russian saints. The style of painting is stylized in the ancient Russian manner, but in the thematic and multi-figure compositions, late academic influences are felt, which is characteristic of the murals of urban churches in the early 20th century.