The free-standing four-tiered bell tower was built according to the design of the Italian architect from Turin, Marichello. Initially, he acted as the contractor himself, but later this role was taken over by Yaroslavl peasants Vasily Semyonov and Ivan Nikitin. Little is known about Marichello, who worked in Russia from 1792 to 1822. He served as the city architect in Shuya, where in 1810, construction of the cathedral bell tower began based on his project. However, after the construction of three tiers, it collapsed and was completed under the guidance of architect E.Ya. Petrov. In the first third of the 19th century, Marichello participated in the construction of the fence of the Nikol-Shartom Monastery. In 1819, according to his design, a warm part was added to the Trinity Church and the Protection Church in the village of Ivanovo, as well as other buildings that, unfortunately, have not survived.

The bell tower is a striking example of a tiered structure in the classical style, characterized by proportional composition and elegant facade decor. The five tiers of the bell tower have different shapes: the lower one is quadrangular, the second is in the form of a quarter with cut corners, the third is octagonal, the fourth is cylindrical, and the fifth tier-resonator is small and quadrangular, located on the dome roof with lucarnes. The structure is topped with a faceted gable roof with a high spire on a vase-shaped base.

The facade decoration of the tiers is also diverse. The walls of the lower quarter are adorned with ribbon rustication with fan-shaped jointing above the semicircular arch lintels on the western and eastern facades and arched niches on the northern and southern ones. Four-column Tuscan porticos with triangular pediments decorate the tier on three sides, while a similar pilaster portico is located on the eastern facade. The columns are united by high pedestals, and the entablature crowning them lacks an architrave.

In the second tier, the walls are covered with horizontal rustication up to the arch lintels, the smooth archivolts of which rest on three-quarter columns with Ionic capitals. Larger Ionic columns are located on the sides of the cut corners, creating active projections of the three-part entablature with small dry bricks in the cornice. In the third tier, completed with a plastic three-part entablature with stepped consoles, the main facets are pierced with through arches framed by panelled pilasters with stucco medallions above them, while the diagonals are decorated with two-column porticos.

The decor of the fourth tier is restrained and limited to recessed smooth frames along the contour of the ringing arches and a cornice with mutules, supported by a smooth frieze and a narrow attic at the base of the figured frames of the round lucarnes. Against this background, the railing of the bypass gallery looks particularly elegant, made of metal grating, reinforced in brick panelled pedestals with miniature capitals that were previously topped with crosses. The arches of the upper resonator tier are decorated with two-column porticos with a complete entablature.

The lower tier, now divided by a flat ceiling into two floors, is covered with a cross vault, and the staircase to the ringing is located in the mass of the southeast pilaster.