According to legend, the first wooden church on this site was built between 1213 and 1215 during the time of the Yaroslavl principality. The founder of the temple is considered to be Prince Konstantin Vsevolodovich the Wise. Around 1300, Princess Anna, the second wife of Prince Fyodor Rostislavich the Black, erected a new church here and presented it with the famous icon of Archangel Michael, known as Michael the Loran. In the Middle Ages, the Church of Archangel Michael was reportedly a cathedral. The church has suffered from fires multiple times but has been restored each time. The current stone five-domed church was laid in 1657. It is two-storied, with two pillars and a high basement. The main cold church in the name of Archangel Michael is located on the second floor. It is surrounded by porches on the north and west sides, and at the northwest corner of the gallery rises an octagonal tent-like bell tower with seven bells weighing a total of 138 poods. On the northern side of the porch, there is a cold chapel in the name of the Solovetsky miracle workers Zosima and Savvatiy, featuring a four-tiered gilded iconostasis, partially painted in 1848. On the first floor, on the southern side, there is a warm chapel in the name of the Annunciation of the Most Holy Theotokos. According to the church inscription on the southern wall, the paintings of the cold church were completed from May 17 to September 21, 1730, by a collective of Yaroslavl masters under the guidance of Fyodor Fyodorov. The collective included Semyon Ivanov Gorin, Ivan Nikitin Gorin with his younger brother Ivan, Alexey Ivanov Soplyakov, Andrey Emelyanov Shustov with his son Afanasy, Ivan Stepanov Sarafanov, Ivan Afanasev, and Matvey Nikitin. Most of them were young artists, and the work on the painting became a school of craftsmanship for them under the guidance of the experienced Fyodorov, for whom this was likely the final stage of his creative career. The size of the church allowed for the inclusion of almost all traditional iconographic cycles typical for Yaroslavl in the painting program, including scenes from the Old Testament. The porches were not painted, except for the western portal. The main feature of the painting is its simplified decorativeness, reminiscent of lubok. The traditional method of decoration gave way to a rhythmic alternation of horizontal friezes resembling a patterned carpet. Miniature curtains ceased to serve as internal chambers, becoming a patterned background. Decorative hills gave way to gentle slopes, weakly revealing the depth of space. The clothing of the characters is executed schematically, with numerous small vertical folds, lacking sophistication and ornamentation. During the uprising of 1918, the church suffered greatly from artillery shelling. From May 1930, it was closed and transferred to the Yaroslavl branch of the Central State Restoration Workshops. In 1992, the church was returned to the Russian Orthodox Church, and in 1995 it received the status of a garrison church.