The Vvedensky Church, built in 1607, was renovated and re-consecrated exactly one hundred years after its construction. The church preserved its unique tents, which represent a rare iconographic type in Russian architecture. This combination of an elegant top with a massive base makes the church particularly unique. The design intended for the Vvedensky Church to include a refectory and a large basement. The volume of the church, which is a rectangular parallelepiped, is elongated not along the longitudinal axis but along the transverse axis, which contradicts traditional architectural canons.

Perhaps, in designing the massive base, the builders aimed to create a contrast by making the upper part of the church light and airy. The tents were perfect for this task. And if the base is rectangular, why not make two tents? Thin and graceful, they resonate with the completion of the Preobrazhensky Church without copying it, which became one of the greatest achievements in creating an architectural ensemble. These tents embody the style of Russian ornamentation of the 17th century, a bright but quickly fading phenomenon in Russian architecture. The decor of the Vvedensky Church, including cornices and window frames, is also executed in the style of ornamentation.

The church looks festive. If one mentally removes the bell tower, added in the 19th century and not in keeping with the style, one can see the original vision of the architects. The church, especially when viewed from a close distance, takes on a pyramidal shape with an aspiration "upward, to the center." Although the bell tower changed the compositional emphasis, the church remains beautiful. The interior features an interesting combination of calm ochre tones of the figures with a pastel blue background. The frescoes, updated in the 21st century, harmoniously fit into the overall style, demonstrating how modern artists have "resonated" with ancient masters.