Before us is a typical example of "Siberian Baroque," which emerged in Tobolsk in the early 18th century and then spread throughout Siberia. The characteristic features of this style are evident here: the "ship" shape with a bell tower, demolished during the Soviet era, a two-altar refectory, and a slender two-light square, giving vertical dynamics to the building. In Tobolsk, there is the church of the righteous Zacharias and Elizabeth, built between 1758 and 1776, which is a twin of the Transfiguration Cathedral. The creators of the cathedral were guided by such examples of "Siberian Baroque," and the similarity of many details is obvious. The southern Russian influence in "Siberian Baroque" is linked to the fact that for a long time, the Tobolsk diocese was headed by people from Little Russia. This influence is particularly noticeable in the five domes with side bell-shaped cupolas on high slender drums. However, "Siberian Baroque" is an original direction, and perceiving the Transfiguration Cathedral as a direct reflection of Ukrainian architecture is unwise and incorrect.

The architectural details of the Transfiguration Cathedral demonstrate a variety of window shapes, which is characteristic of baroque churches striving for richness in exterior decoration. The main windows, some of which are false, are high rectangles with semicircular tops, adorned with relief eyebrows. The "auxiliary" windows are round. At the upper part of the facades, there are four-petaled lucarnes, highlighted by the curve of the cornice. On the angled roof of the square, there is an octagonal light drum topped with a flattened octagonal bell. On it, there is another, smaller blind drum with an octagonal cupola. The side domes with drums are reduced copies of the central dome. The basis of the five-dome structure is the principle of geometric repetition with a reduction in volume in height, which gives the construction an elegant lightness and upward aspiration. The symmetrical side altars of the refectory are concise in their geometry and decor; here, one will not find the usual baroque abundance. Over two centuries, they have been repeatedly rebuilt and expanded. Externally, these are rectangular volumes with walls decorated with pilasters and cut windows with semicircular tops and round "auxiliary" windows. The porticos framing the main entrance to the cathedral have been restored in recent times. The original porticos, which appeared during the era of classicism, testify to a late origin; they were part of the "arrangement" of the now non-existent bell tower. In the early 20th century, the porticos were transformed into a porch, from which access to the bell tower was provided. The reconstructions of the refectory part of the cathedral before the revolution were carried out to increase the "usable area" of the refectory space, which in winter could not accommodate all those wishing to attend. The reason was the crampedness of the refectory, as there were many more parishioners then than now. Two powerful pillars supporting the vaults allowed for the separation of two enclosed rooms, in the southern one of which a church shop is now located. The altar churches are identical in size and form of iconostases. The almost complete coincidence of details speaks of the thoughtfulness of such a solution.

The northern altar is consecrated in the name of the holy apostles Peter and Paul, while the southern is in the name of Archangel Michael. In the southern altar, there is glass with the miraculous image of the Savior Not Made by Hands reflected upon it. The refectory is extraordinarily bright due to the large windows. The whitewashed walls enhance the feeling of space, while the wooden floor adds an atmosphere of provincial coziness. An arched opening leads to the central part of the cathedral. In the square, whose walls are also whitewashed, the entire temple was painted before the revolution, and these paintings were periodically updated. It is brighter here due to the second row of windows and lucarnes at the upper part of the facades. The octagonal completion of the building is open from the inside, with only the light drum closed. The walls are divided by powerful projections corresponding to the external pilasters. The iconostasis is three-tiered, new, and the icons for it were painted by the local artist Andrei Zhukov. The book "Parishes and Churches of the Yekaterinburg Diocese" describes the central iconostasis of the cathedral, lost in the Soviet era: "The main decoration of the temple, the iconostasis in the main altar, was arranged in 1864 at the expense of the parishioners. Its cost reached 18,000 rubles, with the main value being the icons painted at the Academy of Arts. The iconostasis itself, in three tiers, was gilded on a poliment and decorated with carvings. Renewed in 1900, adorned with artistically executed icons, it attracts attention and leaves a strong impression."

One of the significant events in the recent history of the Shadrinsk Transfiguration Cathedral occurred in November 2007, when a "doubling" of the icon happened on the glass of the kiot with the Not Made by Hands Savior image. On November 28, 2007, two church servants removed the icon of the Savior and brought it into the cathedral to clean the glass. Their surprise was great when they discovered a clear image of the Savior on the glass, which appeared both as a negative and a positive photograph. The Not Made by Hands "imprint" on the glass was decided to be left in the temple, placed in a carved kiot in the Archangel Michael altar, to the left in front of the iconostasis. Many Orthodox Christians come to Shadrinsk to venerate the miraculous relic, the "doubled" image of the Savior.