On the slope of the hill, to the west of the bell tower, connected to it by a porch, there is a large refectory hall with the church of the Entry. This is the second oldest stone structure of the monastery after the Assumption Cathedral, built in 1519 on the site of an old wooden refectory. Its composition is similar to the later refectories of the Spaso-Prilutsky and Spaso-Kamenno monasteries. The building, set on a high basement, includes a large refectory hall with a cellar and the church of the Entry to the east, aligned on the same axis. This is one of the first examples of connecting refectories with churches in communal monasteries of Rus, which became a characteristic feature of such buildings.

Each part of the building has its own external interpretation. The wide refectory body represents a rectangular volume with a gable roof, typical for civil structures. The narrower and more powerful cube of the church, resembling a tower, rises above the refectory and is topped with three tiers of kokoshniks with a dome. The three-sided eastern wall of the church resembles the altar extensions of wooden churches. The decoration of the facades is limited to wide pilasters, modest cornices, and niches with pointed tops. This structure likely influenced the church-bell tower with a refectory in the Spaso-Kamenno monastery. In its current form, it has been significantly rebuilt: window and door openings have been altered, the outline of the roof over the refectory has changed, and the stone dome has been replaced with a wooden one.

The enormous almost square hall of the refectory occupies almost the entire upper floor of the building. Numerous windows on two opposite sides provided good lighting. The vaults were supported by a powerful quadrangular column in the center. To the west of the hall was a small cellar. In the mid-19th century, the column and vaults were replaced with a ceiling supported by two rows of wooden columns. The basement, which has preserved the ancient forms of ceilings, gives an idea of the former interior. Beneath the refectory hall is a vast bakery with a massive square column and impressive vaults, rivaling in monumentality, although it is now partitioned. Initially, the entrance to the refectory was through an open staircase from the north side. By the 16th century, a two-tiered porch was added along the northern facade with an internal staircase and arcade, later converted into windows. In its altered form, it has survived to this day, and the bricked-up arches are visible from the outside.

Currently, the refectory and church of Cyril house exhibits of the historical and artistic museum. Among them stands out a collection of ancient Russian embroidery, including 'air', shrouds, and burial cloths from the 15th-17th centuries. Also presented are first-class works of painting: the icon of 'Basil the Great' by Dionysius, the panels from the royal gates depicting the evangelists, presumably painted by Dionysius's son, Theodosius, icons of the 'Dormition' from the early 16th century, 'Trinity', 'Descent into Hell', and other monuments from the 16th century.