The church is located in the mounds and is a pillarless temple, built in 1566 by the order of Ivan the Terrible by the outstanding architect Andrey Maly. In 1770, a chapel in honor of Isidore the Blessed was added to the Ascension Church, and later a bell tower was attached. Ivan the Terrible gifted the church, built over the grave of Isidore, a gilded Deesis and an iconostasis. The original carved royal gates, created around 1566, have survived to this day. Their surface is adorned with a dense carpet ornament, and the upper part features two kiots with images of the Annunciation and 20 medallions with saints. Below are 20 relief kiots depicting feasts in five rows. All elements of the carved decor are elegantly executed and covered with gold leaf against a turquoise and red background. In the 1740s, the interior of the church of Isidore the Blessed was painted by masters from Rostov and Yaroslavl, and in 1873, the painting was updated using glue technique. The dome features the traditional figure of Sabaoth. On the eastern wall, the iconostasis, while the other walls are divided into five tiers. The four upper tiers depict the earthly life of Christ and parables, starting with the Preaching of John the Baptist and ending with the Expulsion of the merchants from the temple. The cycle of the Passion of Christ is absent, while the temple tier is dedicated to the feats of Isidore the Blessed. The painting, executed with perfect proportions and clear rhythm, harmoniously combines with the compact and cozy interior of the church due to the thoughtful arrangement of compositions. The arches of the portals frame the deesis from the medallions, figures of saints are depicted on the window slopes, and in the upper parts of the windows, icons of the Mother of God supported by angels. The golden-red palette of the painting gives the church's interior a festive and solemn appearance. The narrow altar space is elongated along the longitudinal axis, which forced a departure from the traditional composition in the conch of the central apse. Instead, four versions of the song in honor of the Mother of God are presented. The first version, 'It is truly meet,' is above the upper place, the second, 'We magnify you, O Mother of God,' is on the northern slope, the third, 'The most blessed and immaculate Mother of our God,' is on the southern slope, and the fourth, 'More honorable than the Cherubim and more glorious beyond compare than the Seraphim,' is above the royal gates. In the conch of the altar, the Lamb is depicted in the chalice, on the northern wall, 'Let every flesh be silent,' on the southern, seven sacraments, and on the western, 'Do not weep for me, O Mother.' In the conch and on the walls of the deacon's room, 'Days of Creation' and scenes from the life of Adam and Eve are depicted. On the western wall of the deacon's room, the composition 'God rests,' which usually occupies almost the entire western wall of the altar in Rostov churches. On a small western porch adjacent to the church, above the arch, 'Symbol of Faith' is written. The painting on the outer walls of the Ascension Church was done simultaneously with the interior. The eastern pediment depicts the Ascension, on the northern side, the deliverance of the blessed Isidore from drowning and the Presentation of the prosphora by Isidore, on the southern side, the Prayer of Isidore and his Departure.