The Church of the Entry is a temple with an archaic appearance, executed in the traditions of the 17th century and adorned with baroque decor. The main volume of the church, a two-light square, is topped with five domes on a four-pitched roof. To the east, it is adjoined by a lowered semicircular apse, and to the west, a low refectory with a southern chapel marked by a small dome, and a short narthex connecting the church to a three-tiered tent-shaped bell tower, which is slightly shifted to the south of the building's longitudinal axis. The facades are decorated with pilasters at the corners, a belt of decorative kokoshniks separated from the wall by a cornice with expanding stepped consoles, and a profiled crowning cornice with teeth. The window frames, arranged along three axes, are particularly ornate: they are framed, with ears and profiled window sills, topped with profiled brows with small crackers. The side portals of the church are similarly designed. The bell tower consists of a two-tiered square, above which rise two octagonal bell chambers with diagonal faces, significantly narrower than the main ones. In the third tier, instead of arched openings, there are flat niches. The tent with a miniature dome is pierced by three rows of dormers. The square, topped with a four-pitched vault with a light drum in the center, is connected by wide arched openings to the altar apse, covered with a barrel vault that transitions into a conch, and the refectory, which also has a barrel vault with arches above the windows. In the wall separating the refectory and the narthex, there is a staircase leading to the attic and bell tower. On the walls and vaults of the church, remnants of darkened paintings executed in oil paints in the early 20th century have been preserved. The church houses a gilded frame of a four-tiered six-column iconostasis from the first third of the 19th century, made in the style of mature classicism. The icons are lost, but fragments of fine carving have survived. The tiers of the iconostasis are divided by profiled cornices with modillions and elegant rosettes. The central axis of the composition is highlighted by the arch of the royal gates, above which were a small octagonal icon of the 'Last Supper' and larger rectangular icons. The lower tier of the iconostasis with icons of the local and festive rows has projecting two-column porticoes with triangular pediments on either side of the royal gates. Less plastic porticoes without pediments are found in the second and third tiers. The upper tier is united by a broken triangular pediment. The composition is crowned by a group of three icons, united by a common cornice, with the central, wider icon surrounded by two narrow rectangular icons, flanked by pilasters.