The temple received its name thanks to the northern warm chapel, which was built by the artisan G. Teben'kov. This chapel was consecrated before the main cold church, and it likely functioned as an independent temple for several years. In 1767, permission was granted to dismantle the old wooden All Saints Church. In the 1770s, a cold church was built with the main altar of the Nativity of the Virgin and a warm refectory with a chapel of Philip, Metropolitan of Moscow. The wall paintings in the temple were completed in 1778 by T. Plotnikov. At the end of the 19th century, the church was expanded, increasing the length of the refectory. A covered porch and two side tents were placed in the western three-part narthex. In the early 20th century, a reconstruction, during which the wall between the square and the refectory was widened and a heater was installed, allowed the entire temple to be warmed. The wooden Ascension Church, built in 1901-1906, was located in the village of Rakalovo and burned down in March 1911 due to a lightning strike.

The main square of the church, topped with a high vaulted roof with a characteristic stepped break, dominates the volumetric composition of the building. The roof has diagonal troughs, a narrow shelf, and decorative lucarnes on all four sides. The completion in the form of a false faceted lantern with an ornate railing and a finial has been lost. To the east, a five-sided apse adjoins the two-light square. The southern wall of the refectory aligns with the facade of the square, while the protruding northern chapel with a three-sided apse adds asymmetry to the composition. The altar and refectory have the same height as the lower tier of the temple. The chapel and refectory are covered by a common sloping roof with hips on the western side and towards the chapel altar. The roof over the narthex had a picturesque three-centered configuration that echoed the outline of the lost pediment.

The space of the square is covered by a closed four-trough vault, while the altar has a barrel vault converging towards the eastern walls with three troughs and formwork above the window openings. The space of the refectory is divided by a supporting arch into two parts. The square part adjacent to the temple and equal in area is covered by a barrel vault with a western trough. The western part of the refectory has a three-trough vault. The spaces above all openings are adorned with formwork. A similar vault structure is also present over the chapel's rooms. Here, the area above the solea, highlighted by supporting arches, has a raised slit emphasizing the significance of this place in the interior. The narthex rooms are covered by cylindrical vaults.

In the decorative design of the monument's facades, the leading role belongs to the adornment of the upper tiers of the square. The layout scheme and character of the decor are traditional for Vyatka churches of the 1740s-1760s. The wide profiled cornice of the altar and refectory with stepped dry bricks transitions to the facades of the square. A similar cornice separates the attic part of the square. Vertically, both tiers are divided into three parts by fluted pilasters, which end at the level of the window sills of the upper light and reach the cornice in the form of paired half-columns. Each side of the attic has three false zakomaras, the tympana of which are filled with "lemons." The complex contours of the zakomara include profiled brick pulls and dry bricks.

All six windows of the second light have original finials, the design of which reflects motifs from Vyatka churches of the late 17th and early 18th centuries. These are horn volutes and clamps with rectangular and keel-shaped contours, whose supports, resting on the sills, are interrupted by shelves. Between the supports are symbolic inserts, "covers," in the form of bows and towels, cinched in two places with cords. The decor of the other parts of the monument is quite simple and consists of the same pilasters and shelf-like sills above the openings.

In the interior of the cold church, the frame of the five-tier iconostasis with remnants of carving has been preserved. The decoration of the single-tier chapel iconostasis is done in the spirit of classicism and includes a canopy over the royal gates, reminiscent of a lavish baldachin with drawn curtains, as well as columns with fluted shafts and carved composite capitals separating the icons. The wall of the iconostasis was topped with a wide arch over the royal gates and an attic with smooth steps on both sides of the arch. Both iconostases date back to the time of the church's consecration and possessed an expressive compositional and artistic appearance, as evidenced by the fact that one of the angel sculptures decorating the royal gates is kept in the collections of the State Hermitage. Comparing the appearance of the church with the outline of the chapel iconostasis, one can assume that the silhouette of the latter served as a model for the construction of the pediment above the western portal, which appeared at the end of the 19th century.