The Kazan Cathedral was built in the late 17th century from brick, using white stone for cladding. Its facade is designed in the Russian-Byzantine style, combining elements of ancient Russian architecture with Baroque and Classicism. The main vault is adorned with four large compositions: "The Coronation of the Mother of God" in the east, "The Protection" in the north, "The Assumption of the Mother of God" in the west, and "The Dormition" in the south. The frescoes on the vault and upper walls are executed on a large scale, giving the figures a monumental quality. On the northern and southern walls, the frescoes are arranged in three tiers. In the upper parts of the walls, round medallions depict the saints Basil of Ryazan on the north and John Chrysostom on the south. Below them are panels with plant ornaments and crosses. In the two main tiers, there are two large compositions each. In the lower row, they are enclosed in rectangular frames, while in the upper row, in frames with semicircular tops. The second tier includes the scenes of "The Annunciation" and "The Entry into the Temple" on the northern wall, and "The Nativity of the Mother of God" and "The Meeting" on the southern wall. The lower row features "The Glorification of the Kazan Icon", "The Icon is Presented to Tsar Ivan the Terrible", "Miracles from the Kazan Icon", and "The Discovery of the Kazan Icon". The iconography aims for historical accuracy in depicting costumes and interiors of the 16th century. On the western wall above the arch is a multi-figure composition "The Arrival of the Mother of God at Athos", executed in a semicircle. On the inner side of the wide arch leading from the main chamber to the refectory, there are four scenes, with the Mother of God depicted in the center holding the infant Christ, standing on a crescent moon. This iconography, known as the Madonna of the Apocalypse, resembles Western European examples and the icon of the "Mother of God of Vilnius". On the northern slope of the arch are depicted "The Appearance of Christ to Saint Eugenia" and "The Flight into Egypt" based on a print by J. Schnorr von Carolsfeld, while on the southern slope are "Eugenia Teaching Women about Virginity" and "The Meeting of Mary and Elizabeth". In the refectory, ornamental grisaille paintings and stucco rosettes, to which the chandeliers were attached, have been preserved. The church housed three iconostases created in 1870, which have not survived to this day. The basement under the refectory is covered with cylindrical and cross vaults. For heating, convector stoves were installed here, and the entrance to the basement is located in the southern wall of the refectory.