In 1732 and 1735, a stone Vladimir church was built in the monastery with two chapels dedicated to John the Warrior and Nicholas the Wonderworker. Initially, it was planned to construct a wooden church, for which the Synodal Treasury Office granted permission back in 1729. However, thanks to the efforts of benefactors, a stone building was erected. From 1738 to 1755, the church was expanded with a second floor. After the completion of the work and its re-consecration, the church had four altars: the main one in the name of the Holy Life-Giving Trinity (on the upper floor), and three chapels, of the Nativity of St. John the Baptist (also on the upper floor), the Vladimir Icon of the Mother of God, and St. Nicholas the Wonderworker (both on the lower floor).

In 1833 and 1837, the cathedral church was expanded to the south. In the new annex on the upper floor, there was a chapel in the name of the icon of the Mother of God "The Seeking of the Lost," and on the lower floor, a church in the name of the Three Hierarchs. Thus, the total number of altars in the church reached six, which became a record for churches in modern Bryansk. The church could accommodate more than five thousand worshippers. The architecture of the building was done in the style of Ukrainian Baroque, with sacred images adorning the walls, and above the entrance to the lower church was a large icon of the Svyenskaya (Pecherskaya) Mother of God.

In the lower church, the founder of the monastery, schema monk Simeon, was buried. His grave, surrounded by an iron fence, was located in the Church of the Vladimir Mother of God, to the left under the arch of the wall dividing the church. On the other side, under a similar arch, lay Archimandrite Moses; his grave was also fenced. The iconostasis and decoration of the lower church were simpler than those of the upper one. The painting was done in Greek and Italian styles.

Two staircases from the gallery of the lower church led to the upper church, connecting before the entrance to the church on a large common platform. The layout of the upper church was similar to the lower one, but it was divided by two walls with arches instead of three. The upper church was significantly higher and more spacious. The area in front of the icon of the Mother of God of the Three Hands, the main shrine of the monastery, was fenced with a wrought copper grille up to the iconostasis.